Art  Lib, 
XI 

513 


5EUM   OF  FINE  ARTS. 


mm 


PRINT    DEPARTMENT 


EXHIBITION 


■i  IE  ETCHED  WORK  OF  REMBRANDT, 


AND   OF   ARTISTS    OF   HIS    CIRCLE, 


iGETHER   WITH   ENGRAVINGS,   ETCHINGS,   ETC.,   FROM   PAINTINGS 
AND   SKETCHES   BY   HIM.      PRINCIPALLY    FROM 
THE   COLLECTION    OF 

Mr.    henry   F.    SEWALL, 

I, 

i  Of  New  York. 


APRIL    26    TO  JUNE    30,    188T. 


"V 


BOSTON: 

PRINTED    FOR   THE    MUSEUM    BY   ALFRED    MUDGE    &    SON, 

24    Franklin    Street. 


1887. 


THE  PRINT  DEPARTMENT 

of  the  Museum  of  Fine  Arts  comprises  the  Gray  Collection 
(about  6,000  prints),  deposited  by  Harvard  College ;  a  collection 
of  engraved  portraits,  etc,  bequeathed  by  the  late  Charles 
Sumner;  a  collection  of  etchings  by  Jacque,  Whistler,  and 
Haden,  deposited  by  the  Boston  Athenaeum ;  several  thousand 
prints  presented  by  Mr.  George  W.  Wales,  including  a  com- 
plete set  of  the  Arundel  Society's  publications  ;  a  small  col- 
lection of  engravings  by  the  late  John  Cheney  and  other 
American  engravers,  presented  by  Mrs.  Ednah  D.  Cheney;  a 
fine  collection  of  proofs  of  American  etchings  and  wood  en- 
gravings, many  of  them  signed,  presented  partly  by  the  artists 
themselves,  partly  by  the  Century  Company  and  other  publish- 
ing houses;  and  divers  other  engravings  and  etchings,  the 
gifts  either  of  the  artists  or  of  other  friends  of  the  institution, 
the  whole  constituting  at  present  a  collection  (constantly  grow- 
ing) of  about  ten  thousand  prints. 

The  Sumner  portraits  and  a  few  other  engravings  from  the 
Sumner  bequest  are  displayed  permanently  in  frames  hung 
above  the  wall  screens  in  the  First  Print  Room.  Exhibitions 
of  prints,  ancient  and  modern,  are  arranged  in  the  First  and 
Second  Print  Rooms,  and  are  frequently  changed.  The  prints 
not  on  exhibition  can  be  seen  on  application  to  the  curator,  who 
is  in  attendance  on  Tuesdays  and  Wednesdays.  It  is  advisable, 
however,  to  apply  for  an  appointment,  either  personally  or  by 
letter,  at  least  one  week  in  advance.  This  is  suggested  for  the 
convenience  of  visitors.  The  rules  governing  the  Gray  Collec- 
tion requiring  that  no  one  but  the  curator  be  allowed  to  handle 
the  prints,  he  must  give  personal  attention  to  each  visitor,  and 
must,  therefore,  have  time  to  arrange  appointments  so  that  they 
may  not  interfere  with  one  another. 

Persons  specially  interested  in  prints  are  requested  to  send 
their  names  and  addresses  to  the  curator,  so  that  they  may  be 
notified  of  the  (>pening  of  exhibitions,  new  acquisitions,  etc. 

Address  all  communications  to  The  Curator  of  the 
Print  Department,  Museum  of  Fine  Arts,  Boston,  Mass. 

/ 


MUSEUM   OF  FINE  ARTS. 

PRINT    DEPARTMENT. 


EXHIBITION 


OF 


THE  ETCHED  WORK  OF  REMBRANDT 

AND   OF   ARTISTS    OF   HIS    CIRCLE, 

TOGETHER  WITH   ENGRAVINGS,   ETCHINGS,   ETC.,   FROM    PAINTINGS 

AND   SKETCHES   BY   HIM.      PRINCIPALLY   FROM 

THE   COLLECTION    OF 


Mr.    henry   F.    SEWALL, 

Of  New  York. 


APRIL    26    TO  JUNE    30,    1887. 


BOSTON: 

PRINTED    FOR  THE    MUSEUM    BY   ALFRED    MUDGE    &    SON, 

24   Franklin    Strebt. 

1887. 


Digitized  by  tine  Internet  Arcliive 

in  2007  witli  funding  from 

IVIicrosoft  Corporation 


littp://www.arcliive.org/details/exliibitionofetGliOOmuseiala 


«^r'  SRCF 


INTRODUCTION. 


It  is  now  ten  years  since  the  Burlington  Fine  Arts 
Club,  of  London,  opened  (in  May,  1877)  its  celebrated 
second  exhibition  of  Rembrandt's  etchings,  — an  exhibition 
which  still  holds  a  place  in  the  memory  of  all  who  are 
interested  in  the  great  master,  as  a  source  of  pleasure  to 
those  who  were  fortunate  enough  to  see  it,  as  a  source  of 
regret  to  those  who  were  denied  that  advantage.  The 
aim  of  this  exhibition  was  twofold :  Firstly,  to  afford  to 
the  visitor  an  insight  into  the  development  of  the  artist,  to 
trace  his  progress  step  by  step  from  early  beginnings  to 
the  culmination  of  his  powers  ;  secondly,  to  bring  together 
the  evidence  needed  to  decide  the  question,  to  what  extent 
Rembrandt's  own  work  had  been  alloyed  with  that  of 
others.  It  is  easily  seen  that  the  first  of  these  aims  could 
only  be  reached  by  a  chronological  arrangement  of  the 
etchings  executed  by  or  attributed  to  Rembrandt.  At  the 
same  time,  the  chronological  arrangement  would  aid  also 
in  the  attainment  of  the  second  aim,  for  in  the  sifting-out 
process,  which  must  necessarily  be  one  of  comparison,  a 
knowledge  of  the  various  stages  passed  through  by  the 
reputed  author  of  all  these  works  must  self-evidently  be  of 
great  importance.  Mr.  Francis  Seymour  Haden,  the  well- 
known  etcher,  took  the  principal  part  in  the  arrangement 
of  the  exhibition,  as  well  as  in  the  discussion  which  ac- 
companied it.  It  was,  indeed,  his  influence  which  shaped 
the  exhibition  in  its  essential  features,  and  his  theories 
regarding  the  authorship  of  the  etchings  in  question  were 
set  forth  at  length  in  the  introduction  to  the  catalogue  of 
the  exhibition.  That  catalogue,  owing  to  the  exclusive 
policy  of  the  Burlington  Fine  Arts  Club,  is  unfortunately 
unobtainable,  but  the  introduction  was  published  by  Mr. 
Haden  as  a  pamphlet,  both  in  English  and  in  French. 


143 


IV  INTRODUCTION. 


The  present  exhibition  has  been  arranged  with  a  view 
to  furnishing  to  Rembrandt  students  in  America  similar,  if 
not  the  same,  facilities  which  were  furnished  to  these  stu- 
dents in  Europe  by  the  London  exhibition.  But  a  some- 
what difficult  question  presented  itself  at  the  outset.  There 
are  two  chronological  lists  of  Rembrandt's  work  extant,  — 
an  older  by  Mr.  C.  Vosmaer,  the  author  of  "  Rembrandt,  sa 
Vie  et  ses  CEuvres  " ;  a  second,  based  upon  the  system 
adopted  at  the  exhibition  of  the  London  club,  by  Mr. 
Charles  Henry  Middleton,  author  of  "A  Descriptive 
Catalogue  of  the  Etched  Work  of  Rembrandt  Van  Rhyn." 
Mr.  Middleton's  list  is  very  precise,  assigning  each  etching 
to  a  distinct  year,  and  thus  very  inviting  as  a  clean-cut 
piece  of  work,  undisturbed  by  doubt  or  indecision.  Mr. 
Vosmaar,  on  the  other  hand,  often  wavers  and  hesitates  to 
lay  down  his  opinions  as  the  law  j  sometimes,  indeed,  pre- 
fers to  have  no  opinion  at  all.  It  was  this  comparative 
modesty  which  finally  commended  his  list.  There  is 
something  repelling  in  the  audacity  with  which  the  author 
of  the  *'  Descriptive  Catalogue  "  assigns  each  print  to  its 
particular  year,  and  sometimes  even  undertakes  to  date  the 
various  states,  and,  still  more  incomprehensibly,  the 
various  parts  of  one  and  the  same  plate.  Mr.  Vosmaer's 
reasons  for  his  decisions  are,  indeed,  not  always  apparent ; 
he  is  clearly  in  error  sometimes,  and  occasionally  he  mis- 
reads a  date,  but  similar  objections  may  also  be  urged 
against  Mr.  Middleton.  There  is,  moreover,  this  to  be 
said  for  Mr.  Vosmaer,  that  he  leaves  the  student  more 
liberty  of  thought  and  of  action  than  his  English  competi- 
tor. Finally,  by  adhering  to  Mr.  Vosmaer's  chronology,^ 
the    exhibition    becomes    illustrative    of    his    admirable 

'  As  an  additional  help  in  fixing  the  presumable  dates  of  Rem- 
brandt's etchings,  as  well  as  in  deciding  the  question  of  authen- 
ticity, the  monograms,  signatures,  and  figures  found  on  the  plates  have 
not  as  yet  been  taken  fully  into  account.  If  that  were  the  case,  Mr. 
Vosmar  might,  perhaps,  have  assigned  some  of  the  plates  differently, 
as  for  instance,  "  The  Bathers,"  No.  35  of  this  catalogue,  the  signature 
upon  which  certainly  argues  (as  does  also  the  work)  for  the  later  date. 
It  is  a  strange  fact  that  the  monograms  on  Rembrandt's  earlier  plates 
have  so  far  been  misinterpreted  by  all  cataloguers.  Mr.  Blanc  prides 
himself  upon  having  discovered  that  many  of  these  monograms  read 
KH  (Rembrandt  Harmenszoon),  instead  of  Rt  (Rembrandt),  as  in- 


INTRO D  UCTION. 


book  on  Rembrandt,  or  the  latter  may  serve  as  a  text-book 
for  the  exhibition,  and  this  is  an  advantage  not  to  be 
ignored. 

As  to  Mr.  Haden's  theories  concerning  the  authenticity 
of  some  of  the  plates  attributed  to  Rembrandt,  these  can 
easily  be  tested  by  those  desiring  to  do  so  by  the  aid  of 
this  exhibition,  as  a  number  of  the  plates  by  Van  Vliet, 
Bol,  and  Lievens,  mentioned  by  him  in  his  "  Monograph," 
are  shown  in  it.  How  far  these  theories  are  sustained  by 
the  test,  cannot  be  discussed  here.  Mr.  Haden  himself, 
in  the  prefatory  "  Note  "  to  his  second  edition,  admits  that 
he  has  gone  too  far,  or  has  at  least  ventured  too  much  into 
detail  as  to  the  various  etchers  possibly  involved.  But  it 
is  clear  that  all  the  work  which  still  goes  under  Rembrandt's 
name  cannot  be  by  him,  or  cannot  now  be  in  the  condi- 
tion in  which  he  himself  left  it. 

The  desire  to  make  the  exhibition  as  complete  as  possi- 
ble, to  put  the  visitor  in  possession  of  as  many  as  possible 
of  the  facts  which  he  may  need  to  enable  him  to  arrive  at 
an  independent  judgment,  has  led  to  the  admission  of  a 
number  of  photogravure  reproductions,  not,  indeed,  in 
themselves  very  satisfactory,  but  still  valuable  as  parts  of 
a  whole,  where  the  originals  themselves  were  not  attaina- 
ble. The  proportion  which  these  reproductions  bear  to 
the  whole  number  of  prints  catalogued  is,  moreover,  com- 
paratively small. 

The  question  as  to  what  shape  the  catalogue  should  take, 
presented  another  difficulty.  No  doubt,  for  popular  use, 
it  would  have  been  desirable  to  give  explanations  of  the 
subjects,  and  biographical  data  concerning  the  persons 
represented,  and  to  explain  the  differences  which  constitute 

terpreted  by  earlier  writers,  and  accordingly  uses  in  most  cases  a 
combination  of  these  letters,  specially  cut  for  his  book,  in  the  descrip- 
tions which  he  gives.  But  the  monogram  of  this  shape  is  of  very 
rare  occurrence  on  Rembrandt's  etchings,  the  usual  form  being  clearly 
a  combination  of  RHL,  in  script.  Dr.  W.  Bode  ("  Rembrandt's 
friiheste  Thatigkeit")  was  the  first  to  point  this  out,  and  to  suggest 
the  interpretation,  "  Rembrandt  Harmenszoon  Lugdunensis,"  —  an  in- 
terpretation which  is  borne  out  by  the  fact  that  this  monogram  dis- 
appears after  Rembrandt's  removal  from  Leyden  to  Amsterdam.  In 
the  present  catalogue  the  monograms  and  signatures  have  been  care- 
fully noted,  so  far  as  that  can  be  done  without  giving  fac-similes. 


VI  INTRODUCTION. 


the  various  "  states."  But  that  would  have  involved  the 
reprinting  bodily  of  some  one  of  the  older  catalogues,  or 
rather  the  construction  of  a  new  one  from  the  materials 
furnished  by  the  older,  —  obviously  an  impossibility  for  a 
variety  of  reasons,  one  of  which  it  will  be  sufficient  to  state, 
to  wit,  the  bulk  and  expense  of  such  a  catalogue.  It  was 
thought  best,  therefore,  to  give  only  such  tacts  as  are 
needed  for  an  easy  identification  of  each  print,  and  the 
reference  to  the  principal  among  the  more  extended  cata- 
logues. To  these  facts  have  only  been  added  a  few  notes 
directing  attention  to  the  theories  advanced  touching  the 
authenticity  of  some  of  the  plates  ;  correcting  obvious  mis- 
takes and  supplying  omissions  in  the  recognized  cata- 
logues ;  and  occasionally  expressing  an  opinion  calculated 
to  call  upon  the  visitor  to  exercise  his  own  independent 
judgment.  For,  in  truth,  the  exercise  of  such  judgment  is 
sadly  needed  in  this  matter,  which  has  been  densely  ob- 
scured by  tradition  and  untrustworthy  "  authority."  As  it 
stands,  the  present  pamphlet  is  a  Complete  Short  Catalogue 
of  the  Etched  Work  of  Rembrandt.,  according  to  Blanc  and 
Vosmoer,  even  those  pieces  having  been  enumerated  in  it 
which  could  not  be  shown,  but  which  are  mentioned  by  the 
writers  named. 

In  the  attempt  to  establish  the  "  states  "  of  the  prints 
exhibited,  Mr.  Middleton  has  generally  been  followed, 
although  he  has  been  accused  of  unnecessarily  multiplying 
states,  and  his  book  has  been  generally  condemned  (by 
Mr.  Haden)  as  "disingenuous  and  unreliable."  It,  never- 
theless, contains  much  that  is  not  to  be  found  in  the  older 
books,  and  is  pretty  closely  adhered  to,  with  occasional 
divergences,  by  Mr.  Dutuit,  in  his  luxurious  Rembrandt 
catalogue,  which  is  the  latest  work  upon  the  subject.  The 
tendency  to  unnecessarily  multiply  states  is  common  to  all 
catalogue  makers,  and  the  evils  growing  out  of  it  are  occa- 
sionally referred  to  in  the  notes  in  this  catalogue.  It  must 
be  acknowledged  that  the  question  of  "  states  "  is  a  difficult 
one,  and  yet  a  necessary  evil,  so  long  as  prints  are  objects 
of  commerce,  and  therefore  of  money  value,  and  so  long  as 
the  "  connoisseur  "  of  the  ordinary  kind  is  more  of  a  curi- 
osity hunter  than  an  intelligent  appreciator  of  art.  It  is  to 
be  hoped  that  in  the  good  time  coming,  trial  proofs  will 


INTRODUCTION.  Vll 


no  longer  be  described  as  states,  and  press  scratches  and 
differences  in  printing  will  be  recognized  for  what  they 
are.  Until  then  will  it  be  in  vain  to  look  for  really  intelli- 
gible descriptions  and  for  the  absence  of  contradiction 
among  the  cataloguers,  and  until  then,  also,  the  ideal  Rem- 
brandt catalogue  will  have  to  remain  unwritten. 

It  would  seem  almost  as  if,  with  the  facilities  for  study 
and  comparison  now  offered  to  the  student,  the  advance 
must  be  rapid,  and  the  settling  of  disputed  questions  could 
not  be  difficult.  Books  like  those  of  Blanc  and  of  Dutuit, 
and  the  reproductions  by  Amand-Durand  (unfortunately 
not  available  in  the  preparation  of  this  exhibition),  are 
undoubtedly  valuable,  but  for  detailed  study  they  are, 
nevertheless,  unreliable.  The  photogravures  in  Blanc's 
book  may,  perhaps,  claim  to  be  reliable  as  far  as  they  go, 
as  they  have  been  left  unretouched,  but  for  that  very  reason 
they  are  often  uncouth  to  look  at,  and  sin  by  omission. 
Besides,  the  process  used,  involving  biting  with  acid  (as 
far  as  known),  is  naturally  liable  to  produce  unlooked-for 
effects,  and  rudeness  of  line  where  it  may  be  out  of  place. 
Such  plates,  on  the  other  hand,  as  those  in  Dutuit's  book, 
are  more  attractive  to  the  eye,  having  been  retouched. 
This,  however,  makes  them  still  more  unreliable  (see  No. 
83,  note,  of  this  catalogue),  and  when  it  comes  to  the  imi- 
tation of  dry-point  by  roulette  work,  the  distortion  is  com- 
plete. For  the  illustrated  catalogue  of  the  future,  there- 
fore, with  purely  practical  aims,  photogravure  seems  out  of 
the  question,  and  the  simple  photograph,  at  its  best,  much 
to  be  preferred.  This  catalogue  of  the  future,  further- 
more, will  have  to  aim  at  the  reproduction  of  nothing 
but  first  states  {not  trial  proofs,  however),  in  contradis- 
tinction from  Blanc's  and  even  from  Dutuit's  catalogue, 
which  in  most  cases  reproduce  late,  and  sometimes  very 
late  states. 

The  mention  of  states  naturally  enough  brings  up  the 
inquiry  as  to  the  quality  of  the  present  exhibition.  It  may 
be  admitted  at  the  outset  that  it  cannot  rival  the  London 
exhibition  in  Hundred  Guilders  in  the  First  State  (see  Mr. 
Haden's  "Monograph,"  pp.  2  and  3),  or  Rembrandts  with 
the  Sabre  ;  that  there  are  in  it  no  ThoHnxs  (except  in 
reproduction);  no  Buenos  with  the  Black  Ring  (but  a  fine 


VIU  IMTRODUCTION. 


one  with  the  white  ring,  see  No.  244);  no  Old  Harings  and 
Turned-up  Hats  and  Embroidered  Mantles  with  "inesti- 
mable dates  and  griffonneme?its''  —  only  the  impressions 
usually  met  with,  and  many  of  them  in  late  states.  But 
there  are  in  it,  nevertheless,  some  fine  impressions,  and  as 
to  the  states,  it  must  be  recollected  that  in  some  cases  the 
earlier  so-called  states  are  really  trial  proofs,  and  that  in 
many  others  they  are  almost  unprocurable,  so  that,  as  has 
already  been  mentioned,  even  Blanc  and  Dutuit  have  had 
to  content  themselves  with  reproducing  later  states,  and 
occasionally  states  later  than  those  shown  in  this  exhibi- 
tion. 

To  students  of  various  stages  of  progress  and  of  various 
aims,  the  material   offered  to  increase  their  knowledge  is 
ample.     Those  curious  about  states,  and  the  distinctions 
which  constitute  them,  will  find  what  they  seek  in  Nos.  69, 
83,92,  102,  105,  107,  158,  163,  182,  209,248,  251,269, 
276,  284,  285,  299,  etc.  ;  proof  and  counterproof  may  be 
compared   in  Nos.   86  and  225  ;  the   diflference   between 
an  impression  "  showing  plenty  of  bur,"  and  another  with 
the  bur  all  gone,  is  especially  well  seen  in  No.  280 ;  the 
deterioration  of  a  plate  by  wearing  may  be  observed  in 
such  examples  as  Nos.  114,  243,  and  269.     For  technical 
study,  nothing  more  attractive  and  instructive,  and  at  the 
same  time  more  difficult  and  puzzling,  can  be  conceived 
of  than  an  exhibition  of  Rembrandt's  work.     Never  was 
there  an  artist  better  skilled,  more   audacious,  and   more 
successful  in  the  use   of  all  the  means  of  which  he  had 
knowledge.     Needle  and  acid,  the  dry-point,  the  graver, 
and  the  tricks  of  printing  (except  the  modern  device  of 
retromsage)  he  used  separately  or  in  combination  as  he 
listed,  and  always  with  an  harmonious  and  felicitous  result. 
Even  the  graver  (which,  however,  to  speak  quite  correctly, 
he    never  used  separately,  but  only  for  emphasizing  and 
finishing),  he  handled  with  an  unconventional  freedom  that 
made  it  match  perfectly  the  unconcern  of  the  point.     (See 
some  remarks  on  the  use  of  this  instrurtient  by  his  followers 
under  Nos.  454  and  464.)     As  examples  of  pure  etching 
Nos.  2 10  and  260  may  be  pointed  out ;  pure  dry-point  work  is 
seen  in  Nos.  165,  277,  299,  300,  and  probably  also  in  No. 
243  ;  the   combination   of  etched  work    and  dry-point  is 


INTRODUCTION,  IX 


exemplified  in  such  widely  differing  works  as  Nos.  263  and 
269;  in  the  production  of  No.  167  the  graver  has  evi- 
dently had  a  share,  together  with  the  other  means  familiar 
to  the  artist.  But  when  it  comes  to  such  elaborate  work 
as  No.  253,  what  shall  we  say?  Did  the  acid  do  any  of 
the  work  ?  Or  is  it  dry-point  throughout,  strengthened 
here  and  there  by  the  graver  ?  Of  the  artifices  in  printing, 
the  exhibition  shows  nothing,  except  in  Nos.  318  and  (in  a 
manner  too  obvious  to  be  attributable  to  Rembrandt  him- 
self) 103.  To  see  some  of  the  finest  effects  attained  by 
the  artist  by  these  means,  American  students  are  compelled, 
for  the  present,  to  go  to  the  collection  of  Mr.  Theodore 
Irwin,  of  Oswego,  N.  Y. 

The  main  interest  of  the  exhibition  for  the  larger  public 
will  be  found,  however,  —  and  quite  legitimately,  —  in 
its  autobiographical  character.  Rembrandt  was  born  at 
Leyden  on  July  15,  1607  \  he  was  buried  Oct.  8,  1669,  in 
the  Westerkeric  at  Amsterdam.  The  earliest  date  upon  his 
etchings  is  1628,  before  he  left  Leyden;  the  last  date  found 
on  his  plates  is  1661.  All  his  etched  work  embraced 
within  these  dates  is  here,  and  the  record  is  extended  even 
further  by  the  engravings,  etc.,  executed  from  his  paintings 
and  sketches,  which  carry  us  from  1627,  the  earliest  known 
date  upon  any  painting  by  him,  to  within  one  year  of  his 
death.  A  survey  of  the  exhibition  makes  it  clearer  than 
any  amount  of  reading  could  do  it,  that  Rembrandt  was 
indeed  the  first  artist  who  may  truly  be  called  modern. 
For  not  only  is  he  a  realist  of  the  realists,  but  what  makes 
him  still  more  modern  is  his  intense  subjectivity. 

It  would  be  impossible,  indeed,  to  bring  together  such 
another  exhibition,  from  the  hands  of  another  artist,  offer- 
ing a  similar  personal  interest.  Like  the  pages  of  an 
autobiography,  it  lays  bare  to  the  attentive  visitor  every 
step  forward,  every  transformation  of  fortune,  even  the 
varying  moods  of  him  who  left  it  behind.  Some  of  the 
entries,  no  doubt,  are  enigmas  ;  others  are  evidently  fraud- 
ulent interpolations,  but  enough  of  it  is  clear  and  intel- 
ligible, and  authoritative  beyond  questioning,  to  tell  the 
story.  And  it  is  essentially  a  sad  story,  however  instruc- 
tive,—  showing  how  even  he,  the  great  manipulator,  began 
timidly  with  the  brush  as  well  as  with  the  point, —  not 


IN  TROD  UCTION. 


forgetting  here  the  superb  little  portrait  of  his  mother 
(No.  4)  which  stands  at  the  beginning  as  a  prefiguration 
of  what  was  to  come  after,  — and  how  the  freedom  of  his 
later  years  was  the  outcome  only  of  the  practice  that  went 
before,  —  exhibiting  him  to  us  in  the  pride  and  triumph  of 
his  youth,  fond  of  show,  ready  to  avail  himself  of  the  help 
of  others,  rejoicing  in  the  possession  of  Saskia,  whose 
radiant  face  smiles  ever  and  anon  upon  us  out  of  his  work, 
and  then  overwhelmed  by  misfortune,  growing  more  sullen, 
more  sombre,  more  audacious,  but  still  a  giant  in  concep- 
tion, and  untiring  of  work,  showing  us,  too,  the  place  once 
occupied  by  Saskia  filled  by  the  coarse  woman  who  seems 
to  have  been  the  companion  of  his  later  days,  until  we  lose 
sight  of  him  altogether,  and  the  light  is  quenched  in  dark- 
ness.    (See,  however,  Vosmaer,  pp.  358  and  372.) 

It  remains  to  give  thanks  to  those  who  have  made  this 
exhibition  possible,  first  of  all  to  Mr.  Henry  F.  Sewall,  of 
New  York,  from  whose  rich  collection  —  the  richest  in 
Rembrandts,  and  the  most  complete,  historically,  of  all  the 
private  collections  of  the  United  States  —  by  far  the  larger 
part  of  the  prints  shown  has  been  drawn.  Acknowledg- 
ments for  assistance  given  are  due  also  to  Dr.  H,  C. 
Ahlborn,  of  Boston,  and  Messrs.  H.  Wunderlich  &  Co., 
of  New  York  (for  the  loan  of  Blanc's  and  Dutuit's  works, 
neither  .of  which,  unfortunately,  is  owned  by  the  Musevim), 
to  Mr.  Chas.  Henry  Hart,  of  Philadelphia,  to  Mr.  Edward 
VV.  Hooper,  of  Cambridge,  Mass.,  and  to  Mr.  Edward 
Robinson,  of  Boston. 

The  painting,  "  Danae  and  Jupiter  "  (?),  kindly  lent  by 
Mr.  Francis  Brooks,  forms  an  interesting  supplement  to 
the  exhibition.  It  is  mentioned  in  no  list  of  Rembrandt's 
works,  and  Mr.  Vosmaer  says:  "I  know  of  no  painting 
bearing  the  date  of  1652."  That  is  precisely  the  date  upon 
the  canvas  here  shown.  In  its  wealth  of  coloring  it  vividly 
recalls  the  words  used  by  Mr.  Vosmaer  in  describing  another 
picture  by  Rembrandt,  '*  The  Toilet  of  Bathseba,"  dated 
1643  •  "The  hannony  of  the  tints  and  of  the  general  tone 
is  of  great  beauty.  A  color  of  bronze  or  of  gold,  inter- 
woven with  shades  of  violet,  of  brown,  of  green,  and  of 
yellow  ochre,  envelops  the  whole  in  a  scale  at  once  warm, 
poetical  and  mysterious."     It  appears  to  best  advantage 


INTRODUCTION.  XI 


in  a  strong  light,  thus  bearing  out  Rembrandt's  instructions 
concerning  another  of  his  works.  "  Hang  this  picture  in 
a  very  strong  light,"  he  writes  to  Constantin  Huijgens, 
under  date  of  January  27,  1639,  "and  so  that  it  can  be 
seen  at  a  distance.  It  will  do  best  that  way."  The  two 
copies  of  portraits  form  part  of  the  collections  of  the 
Boston  Athenseum,  deposited  with  the  Museum  of   Fine 


Arts. 


S.   R.   KOEHLER, 
Curator  of  the  Print  Dept. 


As  a  text-book  for  the  exhibition,  Vosmaer's  Rembrandt, 
sa  Vie  et  ses  CEuvres,  2d  ed,.  The  Hague  :  1877,  is  rec- 
ommended. 

Mr.  Haden's  theories  will  be  found  in  The  Etched  Work 
of  Rembrandt.     A  Monograph,  new  ed.,  London  :  1879. 

The  catalogues  referred  to  in  this  catalogue  are  : 

Blanc,  Charles,  L'CEuvrede  Rembrandt,  i  vol.  and  plates, 
Paris  :  1880. 

Bartsch,  Adam,  Catalogue  Raisonne  de  toutes  les  Estampes 
qui  forment  Poeuvre  de  Rembrandt^  etc.  2  vols.,  Vienna: 
1797. 

[Wilson,  Thomas,]  A  Descriptive  Catalogue  of  the  Prints 
of  Rembrandt.     By  an  Amateur.     London:   1836. 

Middleton,  Charles  Henry,  A  Descriptive  Catalogue  of 
the  Etched  Work  of  Rembrandt  Van  Rhyn.  London : 
1878. 

Dutuit,  Eugene,  Z'  CEuvre  Complet  de  Rembrandt.  2  vols., 
supplement,  and  plates,  Paris:  1883. 

Claussin,  Le  Chevalier  de,  Catalogue  Raisonn^  de  toutes  les 
Estampe  qui  forment  I'oeuvre  de  Rembrandt,  etc.,  Paris  :  1824. 
Supplement.  Paris:  1828.  (The  supplement  is  referred 
to  for  the  work  of  the  artists  belonging  to  Rembrandt's 
circle.) 

For  a  short  general  account  of  etching  in  Holland  un- 
der Rembrandt's  influence,  see  S.  R.  Koehlerj  Etching 
(Chapter  VI),  New  York  :  1885. 


Xll  INTRODUCTION. 


To  find  in  this  exhibition  any  etching  by  Rembrandt, 
according  to  the  numbers  of  Blanc,  Bartsch,  Wilson,  Mid- 
dleton  or  Dutuit,  refer  to  the  "  Finding  List  "  on  p.  8i, 

The  "  Visitor's  Guides,"  placed  upon  the  stands  in  the 
First  and  Second  Print  Rooms,  will  be  found  convenient 
whenever  it  is  desired  to  locate  a  special  number  in  this 
catalogue  in  the  cases. 

The  abbreviations  used  in  the  following  pages  hardly 
need  an  explanation  :  B.  stands  for  Bartsch ;  Bl.  for 
Blanc ;  CI.  for  Claussin  ;  Du.  for  Dutuit ;  M.  for  Middle- 
ton  ;  R.  for  Rembrandt ;  V.  for  Vosmair ;  W.  for  Wilson. 

Right  and  left,  when  speaking  of  prints,  are  always  un- 
derstood as  relating  to  the  reader  ;  that  is  to  say,  right 
means  that  part  of  the  print  at  his  right  hand,  etc. 


CONTENTS. 


Introduction 

Rembrandt's  Etchings,  arranged  in  chronological   order 
according     to     C.     V^msr's     list     (Nos.      i      to 

319) 

Pieces  not  classified  by  Vosmasr  (Nos.  320  to  339) 
Pieces   rejected  or  omitted  by  Vosmaer  (Nos-   340  to 

361) 

Etchings,  Engravings,  etc.,  executed  from  paintings  and 
sketches  by  Rembrandt,  arranged  in  chronological 

order  (Nos.  362-425) 

Etchings  executed  by  artists  belonging  to  Rembrandt's 
circle  :  — 

Pieter  Lastman  (No.  426) 
Salomon  Savry  (Nos.  427  and  428) 
Salomon  Koninck  (No.  429)  . 
M.  Roddermondt  (Nos.  430  and  431) 
J.  J.  Van  Vliet  (Nos.  432  to  436)   . 
Ferdinand  Bol  (Nos.  437  to  449)    . 
Jan  Lievens  (Nos.  450  to  468) 
Oil  Paintings  (Nos.  469  to  471) 
Finding  List 


Page 
iii 


59 


61 


64 


73 
73 
74 
74 
75 
76 

n 
80 


FIRST    PRINT  ROOM. 


REMBRANDT'S    ETCHINGS, 

ARRANGED   IN   CHRONOLOGICAL  ORDER   ACCORDING 
TO  C.  VOSMAER'S  LIST. 


1.  St.  Jerome  in  Meditation.  —  Bl  77;  B  149;  W 
147  ;  M  176;  Du  145.  —  Assigned  to  before  1628  by  V., 
to  1629  by  M. 

One  state  only.    Shown  in  photogravure.      From  Bl.'s  J?, 

In  his  list  V.  places  this  print  in  the  year  1629,  but  in  the  text  of  his 
"  Rembrandt "  (2d  ed.,  p.  87)  he  gives  it  as  his  opinion  that  it  and  the 
following  piece  are  anterior  to  the  etchings  of  1628. 

2.  St.  Jerome  on  his  Knees.  —  B  io6  ;  W  in;  M 

175.  —  Assigned  to  before  1628  by  V.,  to  1629  by  M. 
One  state  only.  Not  procurable. 

See  remarks  under  No.  i. 

3.  Rembrandt's  Mother.  —  Bl  192  ;  B  352  ;  W  347 ; 
M  6  ;  Du  340.  —  Monogram  RHL.     Dated  1628. 

Two  states ;  2d  state  shown.  Sewall  Coll. 

Two  impressions  are  exhibited,  the  upper  washed  with  India  ink  in 
the  shadows.  Most  of  the  old  women  etched  by  R.  are  said  to  repre- 
sent his  mother,  although  there  are  certain  considerations  which  argue 
against  the  assumption.  The  woman  here  represented  must  be  from 
seventy  to  seventy -five  years  of  age,  and  as  R.  was  twenty-one  years  old  in 
1628,  she  must  have  been,  taking  it  for  granted  that  she  was  his  mother, 
from  fifty-one  to  fifty-four  at  the  time  of  his  birth  and  still  older,  of 
course,  at  the  time  of  the  birth  of  his  younger  sister  Lijsbeth,  which 
would  certainly  be  phenomenal.     It  is  said,  moreover,  that  R.'s  mother 


FIJiST  PRINT  ROOM. 


was  about  seventy  at  the  time  of  her  death  in  1640  (Vosmaer,  2d  ed., 
p.  202).  It  follows  that  in  1628  she  was  only  about  fifty-eight  years 
old,  which  is  altogether  too  young  for  the  woman  here  represented. 
"  R.'s  Grandmother"  would  therefore  be  a  more  fitting  title.  His 
father's  mother,  who  died  in  the  year  1600,  being  out  of  the  question, 
there  remains  only  the  conjecture  that  the  woman  represented  may  be 
his  grandmother  on  the  maternal  side,  Lijsbeth  Cornelisdr. 

4.  Rembrandt's  Mother.  —  Bl  193  ;  B  354 ;  W  348  ; 
M  5  ;  Du  341.  —  Monogram  RHL.     Dated  1628. 

Two  states  ;  2d  state  shown.  Sewall  ColL 

This  magnificent  little  portrait  which  stands  at  the  very  threshhold 
of  R.'s  career  as  an  etcher,  adds  an  artistic  enigma  to  the  chronological 
riddle  alluded  to  under  No.  3.  The  woman  represented  might  possibly 
be  R.'s  mother,  but  how  is  this  etching,  complete  artistically  and  tech- 
nically, to  be  reconciled  with  much  of  the  later  work  which  goes  under 
the  artist's  name,  such  for  instance  as  the  heads  No.  62  and'No.  87? 
It  seems  impossible  that  the  artist  who  did  No.  3  should  have  done 
also,  some  years  later,  No.  62,  No.  87  and  their  congeners. 

5.  Head  of  a  Woman.  —  Bl  252  ;  B  375  ;  W  369  ; 
M  3  ;  Du  363.  —  Assigned  to  1628  by  V.  and  by  M. 

One  state  only.    Shown  in  photogravure.     From  BiJs  Ji, 

V.  believes  this  also  to  be  a  portrait  of  R.'s  mother,  and  a  study  for 
No.  4. 

6.  The  Presentation,  with  the  Angel.  —  Bl  24 ; 
B51;  W56;  M178;  DU56.  —  Monogram  i^iTZ  (the  hori- 
zontal bar  of  the  H  omitted).     Dated  1630. 

Two  states  (?)  ;  2d  state  shown.  Sewall  Coll. 

M.  describes  only  two  states.  An  impression  of  a  later  state,  not 
described,  is  in  the  Gray  Collection. 

7.  The  Circumcision.  (Small,  upright.) — Bl  21; 
B  48  ;  W  53  ;  M  179  ;  Du  53.  —  Assigned  to  1630  by  V. 
and  by  M. 

One  state  only.  Sewall  Coll. 

8.  Jesus  Disputing  with  the  Doctors.  (Small, 
upright.) —Bl  37  ;  B  66;  W  70;  M  177;  Du  69.  — The 
monogram  and  the  date,  1630,  in  ist  and  2d  states. 

Three  states  ;  3d  state  shown.  Sewall  Coll. 


REMBRANDT'S    ETCHINGS. 


g.  Two  Beggars,  Man  and  Woman,  coming 
from  behind  a  bank.  —  Bl  129;  B  165;  W  162;  M  10; 
Du  161.  —  Monogram  in  earlier  states.  Assigned  to  1630 
by  v.,  to  1629  by  M. 

Seven  states  ;  7th  state  shown.  Sewall  Coll. 

10.  Two  Beggars,  Man  and  Woman,  conversing. 
—  Bl  128;  B  164;  W  161;  M  37  ;  Du  160. — Monogram 
RHL.     Dated  1630. 

Two  states  ;  2d  state  shown.  Sewall  Coll. 

11.  A  Beggar,  standing.  —  Bl  133;  B  169;  W  166; 
M  80;  Du  165.  —  Marked  RH  in,  the  letters  of  the 
name  joined,  but  not  in  R.'s  usual  style. —  Assigned  to 
"early  period  "  by  V.,  to  1631  by  M. 

One  state  only.     Shown  in  photogravure.   FromBl.'sR. 

M.  is  inclined  to  doubt  this  piece.  According  to  him,  it  bears  the 
monogram  only,  and  he  thinks  there  may  be  two  states. 

12.  A  Beggar,  sitting  on  a  hillock.  —  Bl  136;  B  174; 
W  171;  M  34;  Du  170.  —  Monogram  RHL.  Dated 
1630. 

One  state  only  ?  Sewall  Coll. 

13.  Man  Standing. — Bl  155;  B  190;  W  187  ;  M 
255;  Du  187.  —  Monogram  ^jyZ.     Dated  1630. 

One  state  only.  Not  shoivn. 

14.  Bust  of  a  Man,  with  broad-brimmed  hat  and 
ruff.  —  Bl  260;  B  311 ;  W  312  ;  M  28  ;  Du  307.—  Mono- 
gram RHL  (crossbar  wanting).     Dated  1630. 

One  state  only  ?  Sewall  Coll. 

There  are  impressions  with  and  without  monogram  and  date,  these 
latter  probably  wiped  out  or  covered  up  before  the  impressions  were 
taken.     The  impression  shown  is  of  the  second  kind. 

15.  Bust  of  a  Man,  looking  from  behind  a  wall. — 
Bl  265  ;  B  304  ;  W  304  ;  M  38  ;  Du  300.  —  The  2d  and  3d 
states  have  the  monogram  and  are  dated  1630. 

Five  states  ;  two  shown  :  — 

(a.)     I  St  state  shown  in  photogravure.   From  BL^s  R. 
Ip.)     4th  state.  Sewall  Coll. 


FIRST  PRINT  ROOM. 


M.'s  description  of  the  ist  state  does  not  seem  to  be  quite  correct. 
According  to  him,  the  work  on  the  3d  and  later  states  is  not  by  R. 

16.  Old  Man  Sitting,  wearing  a  high  cap  (Philon, 
the  Jew).  —  Bl  266;  B  321;  W  319;  M  36 ;  Du  314. — 
Monogram  RHL  (without  the  crossbar  in  the  H). 
Dated  1630. 

Three  states  ;  2d  state  shown.  Sewall  Coll. 

17.  Bald  Headed  Man,  in  profile,  with  a  jewelled 
chain.  —  Bl  272;  B  292;  W  294;  M  39;  Du  289.  —  In 
2d  and  3d  states,  monogram  RHL.^  and  date,  1630. 

Three  states ;  3d  state  shown.  Sewall  Coll. 

18.  Same  as  No.  17,  Reversed.  —  Bl  273;  B  293; 
W  308;  M  41;  Du  290.  —  Assigned  to  1630  by  V.  and 
by  M. 

Two  states;  photogr.  of  ist  state  shown.    From  BlJs  R. 

19.  Same  Head  as  No.  17,  Smaller.  —  Bl  274;  B 
294;  W  295;  M  40;  Du  291.  —  Monogram  Rt.  Dated 
1630. 

One  state  only.  Sewall  Coll. 

20.  An  Old  Man,  with  large  beard,  the  shoulders 
rising  above  the  ears.  —  Bl  282  ;  B  325  ;  W  323  ;  M  30  ; 
Du  318,  —  Monogram  RHL.     Dated  1630. 

One  state  only.  Sewall  Coll. 

There  are  impressions  in  which  the  monogram  and  date  have  been 
suppressed. 

21.  An  Old  Man,  with  large  beard,  the  shoulders 
lower  than  the  ears.  —  Bl  283  ;  B  309 ;  W  310  ;  M  31 ;  Du 
305.  —  Monogram  RHL.     Dated  1630. 

One  stale  only.  Sewall  Coll. 

22.  An  Old  Man  with  large  beard,  the  right  shoulder 
left  white.  —  Bl  285  ;  B  291 ;  W  293  ;  M  29 ;  Du  288.  — 
Assigned  to  1630  by  V.  and  by  M. 

One  state  only.  Sewall  Coll. 


REMBRANDT'S   ETCHINGS. 


23.  Rembrandt,  with  fur  cap  and  light  dress. — 
Bl  226  ;  B24;  W24;M27;  Du  24.  —  Monogram.  Dated 
1630. 

Five  states;  4th  (or  sth.?)  state  shown.     Sewall  Coll. 

Monogram  and  date  only  partly  visible  in  the  impression  shown. 


24.     Rembrandt,  grimacing.  —  Bl  214;  B  10;  W  10; 
M  23  ;  Du  ID.  —  Monogram  and  date,  1630,  in  ist  state. 
Three  states  ;  two  shown  :  — 

(d!.)     2d  state.     Cut  down.  Sewall  Coll. 

(If.)     3d  state.     Washed  with  India  ink  in  the  head. 

Sewall  Coll. 


25.  Rembrandt,  with  bushy  hair  and  small  white 
collar.  —  BI204;  B  i  ;  W  i;  M  51;  Du  i.  —  Monogram 
RHL  (without  the  crossbar).  Assigned  to  1630  by  V., 
to  1631  by  M. 

Two  states;  2d  state  shown.  Sewall  Coll. 

26.  Rembrandt,  with  haggard  eyes. — Bl  217;  B 
320 ;  W  33  ;  M  24  ;  Du  33.  —  Monogram  RHL,  and  date, 
hardly  legible,  but  generally  read  1630. 

One  state  only.  Sewall  Coll. 

27.  Rembrandt,  laughing.  —  BI218;  B  316;  W  29; 
M  25  ;  Du  29.  —  Monogram  RHL.     Dated  1630. 

Three  states ;  3d  state  shown.  Sewall  Coll. 

M.  thinks  that  the  retouches  which  the  3d  state  shows  are  not  by  R. 
Mr.  Haden  ("Monograph,"  p.  14)  speaks  of  a  "  distorted  2d  state  "  by 
Van  Vliet. 


28.  Rembrandt,  with  open  mouth.  —  Bl  219;  B  13; 
W  13  ;  M  22  ;  Du  13.  —  Monogram.     Dated  1630. 

Two  states  ;  2d  state  shown.  Sewall  Coll. 

In  the  2d  state  part  of  the  monogram  is  lost  by  the  reduction  of  the 
plate.  Only  faint  traces  of  it  and  of  the  date  are  visible  in  the  impres- 
sion shown. 


FIRST  PRINT  ROOM. 


29.  Rembrandt,  with  a  broad  nose.  —  Bl  208  ;  B  4  ; 
W  4 ;  M  42  ;  Du  4. — Assigned  to  1630  by  V.,  to  1631 
by  M. 

Two  states;  photogr.  of  2d  state  shown.   From  BIJ's  R. 

30.  Rembrandt,  stooping.  —  Bl  209  ;  B  5  ;  W  5  ;  M 
19  ;  Du  5.  — Assigned  to  1630  by  V.  and  by  M. 

Three  states ;  photogr.  of  3d  state  shown.    From  Bl.'sR. 

31.  Rembrandt,  with  curly  hair,  tufted.  —  Bl  205; 
B  27  ;  W  27  ;  M  26  ;  Du  27.  —  Assigned  to  the  earliest 
period  by  V. ;  according  to  M.,  the  monogram  and  the 
date  1630  can  with  difficulty  be  read  in  the  lower  margin. 

One  state  only.     Shown  in  photogravure.  From  Bl.'s  R. 

32.  Diana  Bathing.  —  Bl  165;  B  201;  W  198; 
M  258 ;  Du  198.  —  Monogram  RHL.  ft.  Assigned  to 
163 1  by  V.  and  by  M. 

One  state  only.  Sewall  Coll, 

33.  Danae  and  Jupiter. —  Bl.  168;  B  204;  W  201 ; 
M  259;  Du  201.  —  Monogram  ^.^Z.  Assigned  to  1631 
by  V.  and  by  M. 

Two  states ;  2d  state  shown.  Sewall  Coll. 

34.  A  Beggar,  without  beard,  in  a  large  cloak.  —  Bl 
114;  B  150;  W  148;  M  71;  Du  146.  —  Monogram  RHL 
(shape  of  the  letters  quite  different  from  that  usually 
employed) .     Dated  1 63 1 . 

Five  states ;  4th  state  shown.  Sewall  Coll. 

The  changes  in  the  later  states,  M.  thinks,  are  not  due  to  R. 


35.     The  Bathers.  —  Bl  1 17  ;  B  195  ;  W  192  ;  M  292  ; 
Du  192.  —  Signed  Rembrandt,  f.     Dated  1631 .'' 
Two  states  ;  ist  state  shown.  Sewall  Coll. 

There  are  some  scratches  in  the  figure  3  of  the  date,  which  M.  thinks 
constitute  a  correction  of  the  year  to  1651.  The  work  and  the  signa- 
ture both  certainly  seem  to  show  the  character  of  R.'s  later  years. 


REMBRANDT'S   ETCHINGS. 


36.  The  Blind  Fiddler. —  Bl  91;  B  138;  W  138; 
M  78  ;  Du  136.  — Monogram  RHL.     Dated  1631. 

Three  states ;  3d  state  shown.  Sewall  Coll. 

According  to  M.,  the  shading  which  characterizes  the  last  state  was 
not  executed  by  R. 

37.  The  Little  Polander.  —  Bl  108;  B  142  ;  W 
142;  M  79;  Du  140.  —  Monogram  RHL  (without  the 
crossbar).     Dated  1631. 

One  state  only.     Shown  in  photogravure.  From  Bl.'s  R. 

38.  The  Dumb  Beggar.  (Lazarus  Klap  ;  de  Lazar- 
usiclap ;  the  Leper.) — Bl  138;  B  171  ;  W  168;  M  72; 
Du  167.  —  Monogram  RH  (somewhat  different  from  the 
usual  form).     Dated  1631. 

Six  states;  3d  state  shown  in  photogravure.  From  Bl.'s R. 

39.  Woman  Crouching.  —  BI156;  B191;  W  188; 
M  257;  Du  188.  —  Monogram  ^^Z.     Dated  1631. 

Two  states.  Not  shown. 

40.  A  Beggar  in  a  ragged  cloak.  —  Bl  131;  B  167; 
W  164;  M  70  ;  Du  163.  —  Monogram  RHL.     Dated  1631. 

Three  states ;  2d  state  shown.  Sewall  Coll. 

Generally  said  to  be  "  in  the  manner  of  Callot,"  without  much 
warrant. 

41.  A  Beggar  with  a  crippled  hand.  —  Bl  130;  B 
166;  W  163  ;  M  74  ;  Du  162.  —  Assigned  to  1631  by  V. 
and  by  M. 

Three  states  ?  2d  state  (.?)  shown  in  photogr.  From  Bl.'s  R. 

This,  like  No.  40,  is  also  said  to  be  "  in  the  manner  of  Callot."  M. 
describes  three,  Du.  four  states.  The  impression  shown  seems  to  repro- 
duce Du.'s  4th  state. 

42.  A  Beggar  Woman,  with  a  leather  bottle.  — 
Bl  132  ;  B  168 ;  W  165  ;  M  75  ;  Du  164.  —  Assigned  to 
1 63 1  by  V.  and  by  M. 

Two  states  ;  2d  state  shown.  Sewall  Coll, 

M.  thinks  this  piece  "  somewhat  doubtful." 


8  fijRST  print  room. 

43.  Two  Venetian  Figures.  —  Bl  119;  B  154; 
W  151;  M  73;  Du  150.  —  Monogram  apparently  Rt. 
Assigned  to  1631  by  V.  and  by  M. 

Two  states  ;  photogr.  of  2d  state  shown.    From  Bl.'s  jR. 

It  is  difficult  to  say  why  these  figures  should  be  called  "  Venetian," 
unless  for  the  reason  that  the  cap  of  one  of  them  resembles  the  cap  of 
the  Doges. 


44.  A  Peasant  with  his  hands  behind  him.  —  Bl  103 ; 
B  135  ;  W  136  ;  M  89 ;  Du  134.  —  Monogram  RHL. 
Dated  1631. 

Four  states ;  4th  state  shown.  Sewall  Coll. 

Mr.  Haden  (see  "  Monograph,"  p.  15)  speaks  of  this  plate  as  a  "  vile  " 
copy  by  Van  Vliet. 

45.  Bust  of  a  Bald  Man,  leaning  forward,  mouth 
open. — BI275;  B  298;  W  298;  M  56  ;  Du  294. —  RHL. 
Dated  1631. 

Three  states  ;  3d  state  shown.  Sewall  Coll. 

"Very  doubtful,"  according  to  V.  M.  thinks  that  after  the  ist  state 
the  plate  was  worked  upon  by  others. 


46.  Bust  of  a  Bald  Man,  with  large  nose.  —  Bl  276 ; 
B  324  ;  W  322  ;  M  57  ;  Du  317.  —  Monogram  apparently 
RH.     Dated  1631. 

Three  states  ;  2d  state  shown.  Gray  Coll. 

47.  An  Old  Woman,  wearing  a  dark  head  dress  with 
lappets. —Bl  245;  B  355;  W  349;  M  67  ;  Du  343-  — 
Monogram' RH.     Dated  1631. 

M.  describes  three,  BL,  four  states,  but  the  descriptions 
do  not  indicate  all  the  changes  the  plate  has  undergone, 

{a.)     Bl.'s  4th  state,  in  photogravure.     From  Bl.'s  R. 

{b.)  Seems  to  be  M.'s  3d  state,  but  is  evidently  later 
than  Bl.'s  4th.  Sewall  Coll. 

{c.)  Shows  some  little  additional  work,  and  would, 
therefore,  constitute  a  still  later  state.  Sewall  Coll. 


REMBRANDT'S   ETCHINGS. 


One  of  the  earlier  states,  with  considerably  less  work  upon  it, 
especially  in  the  hood,  is  reproduced  in  Dutuit's  book.  The  later 
retouches  are  supposed  to  be  not  by  R.  The  example  of  this  plate  may 
serve  to  show  the  often  unimportant  character  of  the  distinctions  which 
mark  "states." 


48.  Bust  of  an  Old  Man,  with  a  long  beard.  —  Bl 
281  ;  B  260  ;  W  261  ;  M  62  ;  Du  276.  —  Monogram  RHL. 
I  St  state  dated  1631. 

Two  states ;  2d  state  shown.  Chas.  Henry  Hart. 

49.  Bust  of  a  Man,  in  profile,  bearded,  wearing  a 
cap.  —  Bl  298;  B  317  ;  W  317  ;  M  69  ;  Du  312.  —  Mono- 
gram RH.     Dated  1631. 

One  state  only.     Shown  in  photogravure.  From  Bl.'s  R, 

"  Very  doubtful,"  according  to  M. 

50.  An  Old  Man,  with  large  beard.  —  Bl  284 ;  B  315  ; 
W  316  ;  M  63  ;  Du  311.  —  Monogram -ffZTZ.     Dated  1631. 

Two  states  ;  2d  state  shown.  Sewall  Coll. 

51.  A  Man  with  a  Short  Beard,  fur  cap,  and 
embroidered  cloak.  —  BI267;  B  263;  W  265;  M  77;  Du 
279.  —  Monogram  .^ZTZ.     Dated  1631. 

Four  states  ;  4th  state  shown.  Sewall  Coll. 

52.  Bust  of  an  Elderly  Man,  with  a  cap  and  robe  of 
fur.  —  Bl  264  ;  B  307  ;  W  307  ;  M  58  ;  Du  303.  —  Mono- 
gram RH.     Dated  1631. 

Three  states ;  3d  (?)  state  shown.  Sewall  Coll. 

The  third  state  is  coarsely  reworked. 

53.  A  Beggar,  sitting  in  a  chair, — Bl  124;  B  160; 
W  157  ;  M  76  ;  Du  156.  — Assigned  to  1631  by  V.  and  by 
M. 

One  state  only.     Shown  in  photogravure.  From  Bl.'s  R. 

There  is  something  strongly  suggestive  of  Diirer  in  the  whole  con- 
ception of  this  figure. 


lO  FIRST  PRINT  ROOM. 

54.  A  Beggar,  seated,  with  a  dog  by  his  side.  —  Bl 
139  ;  B  175  ;  W  172  ;  M  65  ;  Du  171.  —  Monogram  appar- 
ently Rt.     Dated  1631. 

One  state  only.     Shown  in  photogravure.  From  Bl.'s  H. 

The  head  seems  to  be  that  of  the  model  who  sat  also  for  the  "  St. 
Paul  in  Prison,"  an  early  picture  by  R.,  dated  1627.  See  the  etching 
by  Baldinger,  "Zeitschrift  fiir  bildende  Kunst,"  1874,  reproduced  in 
Bode,  "  R.'s  friiheste  Thatigkeit,"  No.  362  of  this  catalogue. 

55.  Bust  of  an  Old  Man,  in  a  high  fur  cap.  —  BI 
302  ;  B  299  ;  W  299  ;  M  118  ;  Du  295.  —  Assigned  to  163 1 
by  v.,  to  1635  by  M. 

One  state  only.  Sewall  Coll. 

56.  Rembrandt's  Mother,  in  a  black  dress.  —  Bl 
195;  B  349;  W344;  M53;  Du  337.  —  Monogram  i?^Z 
(the  crossbar  of  the  H  omitted).     Dated  1631. 

Two  states  ;  ist  (?)  state  shown.  Sewall  Coll. 

M.  supposes  the  age  of  the  woman  represented  to  be  63  or  65  years, 
which  seems  too  young.     See  the  remarks  under  No.  3. 

57.  Rembrandt's  Mother,  with  a  black  veil.  —  Bl 
196;  B343;  W339;  M54;  Du  332.  — Monogram  7?^Z. 
Jt.     Assigned  to  1631  by  V.  and  by  M. 

Four  states  ;  2d  state  shown.  Sewall  Coll. 

58.  Rembrandt's  Mother,  wearing  a  lace  cap.  —  Bl 
198  ;  B  348  ;  W  343  ;  M  55 ;  Du  336.  —  Monogram  RHL. 
Dated  1631. 

Three  states;  3d  state  shown.  Sewall  Coll. 

59.  Rembrandt,  with  broad  hat  and  embroidered 
mantle.  —  Bl  211 ;  B  7  ;  W  7  ;  M  52  ;  Du  7.  —  In  5th 
state  monogram  RHL  and  date  163 1 ;  in  8th  state,  Rem- 
brandt f. 

Nine  states  ;  8th  state  shown.  Sewall  Coll. 

M.  considers  the  plate  in  its  later  states  to  have  been  worked  upon 
by  other  hands  than  those  of  R.  The  age  of  the  person  represented 
again  inspires  doubt.  In  1631  R.  was  twenty-four.  This  youth,  de- 
spite the  down  about  the  mouth,  looks  hardly  more  than  eighteen  or 
twenty  at  the  utmost.  The  curious  may  find  Mr.  Haden's  opinion 
of  this  plate,  "  Monograph,"  pp.  3  and  23. 


rembrAndt's  etchings.  ii 

60.  Rembrandt,  with  a  fur  cap.  —  Bl  223;  B  16  ;  W 
16  ;  M  45  ;  Du  16.  — Monogram  RHL.     Dated  1631. 

Two  states ;  ist  state  shown.  Sewall  Coll. 

61.  Rembrandt,  with  squinting  eyes  and  bushy  hair. — 
Bl  220;  B  25  ;  W  25  ;  M  49  ;  Du  25.  —  Monogram  and 
date,  1631,  in  ist  and  2d  states. 

Three  states  ;  photogr.  of  3d  state  shown.    From  Bl.^s  E. 

Only  the  ist  state,  according  to  M.,  is  entirely  by  R. 

62.  Rembrandt,  with  fur  cape.  —  Bl  222  ;  B  15  ;  W 
15  ;  M  48;  Du  15.  —  Monogram  RHL.     Dated  1631. 

Four  states  ;  two  shown  :  — 

{a.')     ist  state  ;  in  photogravure.  Frotn  Bl.'s  R. 

{b.)     4th  state.  Sewall  Coll. 

According  to  M.,  the  changes  after  the  2d  state  are  not  due  to  R.'s 
hand.  According  to  Mr.  Haden,  the  plate  is  a  "vile"  copy  by  Van 
Vliet.     (See  "  Monograph,"  p.  15.) 

63.  Rembrandt,  with  fur  cap  of  unequal  height.  — 
Bl  225  ;  B  14 ;  W  14  ;  M  44  ;  Du  14.  —  Monogram  RH. 
Dated  1631. 

Two  states ;  2d  state  shown.  Gray  Coll. 

Reworked  in  the  2d  state,  according  to  M.,  by  other  hands  than  R.'s. 

64.  Sketches,  with  a  so-called  Head  of  Rembrandt.  — 
Bl  238;  B  370;  W  364;  M  82  ;  Du  358.  —  Monogram 
Rt.     Date  read  1631  by  V.  and  by  M.,  1651  by  others. 

One  state  only.     Shown  in  photogravure.  From  BWs  R. 

If  1 63 1  is  the  correct  date,  the  head  cannot  be  R.'s.  The  work,  so 
far  as  a  reproduction  admits  of  judgment,  certainly  looks  more  like  that 
of  a  later  period.  M.  would  have  it  that  part  of  it  is  of  earlier,  part 
of  later  date. 


65.  Rembrandt,  with  very  small  black  eyes.  —  Bl 
213;  B9;  W9;  M21;  Du  9.  —  Assigned  to  163 1  by  V., 
to  1630  by  M. 

One  state  only.     Shown  in  photogravure.   From  BL's  R. 


12  FIRST  PRINT  ROOM. 

66.  Rembrandt,  in  an  oval.  —  Bl  215  ;  B  12  ;  W  12  ; 

M  16  ;  Du  12.  —  Assigned  to  1631  by  V.,  to  1630  by  M. 
Two  states;  2d  state  shown  in  photogr.     From  Bi.'s  R. 

67.  Rembrandt,  in  an  octagon,  —  Bl  221;  B  336; 
W  31  ;  M.  20;  Du  31. — Monogram  RH.  Assigned  to 
1 63 1  by  v.,  to  1630  by  M. 

One  state  only.    Shown  in  photogravure.    From  Bl.^s  R. 

68.  Rembrandt,  with  a  soft  round  cap.  ("  R.  aux  trois 
crocs.")  —  Bl  224;  B  319;  W  28  ;  M  47;  Du  28. — As- 
signed to  163 1  by  V.  and  by  M. 

Five  states  ;  two  shown  :  — 

(a.)     3d  state  in  photogravure.  From  BlJ's  R. 

{b.)     4th  state.  Sewall  Coll. 

Worked  upon  by  some  other  artist,  in  M.'s  opinion,  in  the  4th  state 
and  perhaps  also  in  the  3d.  Mr.  Haden  speaks  of  a  "distorted  2d 
state  "  by  Van  Vliet. 

69.  The  Resurrection  of  Lazarus.  Large.  —  Bl 
48;  B  73;  W  77  ;  M  188;  Du  79.— Marked:  RHL  {in 
monogram)  7f.  Ryu.  f.  Assigned  to  1632  by  V.,  to  1633 
by  M. 

Nine  states,  according  to  M;  eleven,  according  to  Bl. 
Three  shown  :  — 

{a.)     2d  state  in  photogravure.  From  Bl.^s  R. 

(/'.)     8th  state.  Scivall  Coll. 

\c.)     9th  state  (of  M. ;   i  ith  of  Blanc?).   Sewall  Coll. 

M.  is  of  opinion  "  that  this  piece  is  to  a  large  extent  the  work  of  Van 
Vliet."  Mr.  Iladen  professes  ("  Monograph,"  p.  25)  "  a  general  dis- 
trust of  the  plate,"  but  hesitates  "  to  pronounce  upon  it,"  as  to  its  prob- 
able author.  In  his  opinion,  also,  "  the  ordonnance  of  the  plate  "  is 
not  R.'s.  For  similarity  in  composition,  compare  the  drawing  in  the 
British  Museum,  dated  1630,  reproduced  in  Bode,  "  R.'s  friiheste 
Thjitigkeit,"  No.  367  of  this  catalogue. 

70.  The  Body  of  Jesus  carried  to  the  Tomb.  — 

Bl  60;  B  84  ;  W  89  ;  M  21  7  ;  Du  92.  —  Signed  :  Rembrant 
(^omitted).     Assigned  to  1632  by  V.,  to  1645  ^Y  ^^• 
One  state  only.  Sewall  Coll. 


REMBRANDT'S   ETCHINGS.  13 

71.  St.  Jerome  Praying.  —  Bl  72  ;  B  lor ;  W  106; 
M  183;  Du  104.  —  Signed:  Rembrant.  ft.  {d  omitted). 
Dated  1632. 

Three  states  ;  3d  state  shown.  Sewall  Coll. 

72.  The  Ratkiller.  — Bl  95;  B  121;  W  125;  M  261; 
Du  122.  —  Monogram  RHL.     Dated  1632. 

Two  states  ;  2d  state  shown.  Sewall  Coll. 

73.  The  Ratkiller.  — Bl  96;  B  122;  W  126;  M  260 
Du  123.  —  Assigned  to  1632  by  V.  and  by  M. 

One  state  only.     Shown  in  photogravure.    From  Bl.^s  R. 

Called  a  study  for  No.  72.     Ruined  in  the  biting  and  abandoned. 

74.  The  Persian.  —  Bl  105;  B  152;  W  150;  M  91; 
Du  148.  — Monogram  RHL.     Dated  1632. 

Two  states ;  2d  state  shown.  Sewall  Coll. 

75.  A  Man  on  Horseback.  —  Bl  106;  B  139;  W 
139;  M  4;  Du  137.  —  Monogram  apparently  RH, 
reversed.  Assigned  to  between  1630  and  1634  by  V.,  to 
1628,  among  the  first  attempts  of  R.,  by  M. 

Two  states;  2d  state  shown.  Sewall  Coll. 

76.  Head  of  an  Old  Woman.  —  Bl  246  ;  B  360;  W 
354;  Du  348.  —  Monogram  RH.  Assigned  to  1632  by 
v.,  rejected  by  M. 

Two  states  described  by  W. ;  2d  state  shown  in  photogr. 

From  Bl.'s  R. 

77.  Portrait  of  Coppenol,  the  Calligrapher.  (The 
Little  Coppenol.)  —  Bl  174;  B  282  ;  W  284;  M  162  ;  Du 
257. — Assigned  to  about  1632  by  V.,  to  1651  by  M. 

Six  states ;  3d  state  shown.  Sewall  Coll. 

V.  assigns  this  plate  to  about  1632,  not  only  on  the  evidence  of  the 
style  of  the  work,  "  la  gravure,"  but  also  on  that  of  the  age  of  the  sit- 
ter. As  Coppenol  was  i^orn  in  1598,  he  was  thirty-four  years  of  age  in 
1632.  He  certainly  looks  much  older  in  this  portrait.  Compare  No. 
319- 


14  PIUST  PRINT  ROOM. 

78.     A  Cottage  with   White   Pales.  —  Bl  332  ;   B 

232;  W229;  M308;  Du  229.  —  Signed  JHembrandt.  f.\  2d 
state  dated  1632,  according  to  V.,  1642,  according  to  M. 
Two  states;  2d  state  shown.  Sewall  Coll. 

On  the  impression  shown  the  date,  hardly  visible,  looks  more  like 
1642  than  1632.  It  has  hardly  any  value,  however,  as  it  is  evidently  a 
later  addition,  probably  by  another  hand.  Moreover,  the  date  1642 
would  place  this  plate,  which  is  probably  the  tamest  of  all  of  R.'s 
landscapes,  into  the  same  year  with  "  The  Three  Trees,"  and  later  than 
much  of  his  far  more  vigorous  work  of  the  same  kind. 


79.  The  Flight  into  Egypt.  —  Bl  25  ;  B  52 ;  W  57  ; 
M  184;  Du  57.  —  Signed:  Rembrandt  invaitor  et  fecit. 
Dated  1633. 

Two  states;  ist  state  shown  (late  impression  T). 

Sewall  Coll. 

"A  very  doubtful  piece,"  according  to  M.  According  to  Mr. 
Haden,  it  is  probably  by  Bol,  from  a  design  by  Lastman. 


80.     The  Good  Samaritan. —  Bl  41;  B  90;  W  95; 

M    185;    Du  75. — In   5th  state:   Rembrandt  inventor  et 
fecit.     Dated  1633. 

Five  states  ;  two  shown  :  — 

{a.)     2d  state,  in  photogravure.  Fro7n  Bl.'s  R. 

{b.)     5th  state.  Gray  Coll. 

According  to  M.,  this  plate  was  executed  partly  by  some  pupil  of  R., 
as  was  also  the  additional  work  in  the  later  states.  Mr.  Haden 
("  Monograph,"  p.  26)  thinks  it  entirely  the  work  of  a  pupil,  possibly 
Bol.  Bl.,  although  controverting  Mr.  Haden's  opinion,  likewise,  in 
accord  with  others,  puts  a  low  estimate  upon  the  plate.  Longhi,  the 
celebrated  engraver,  on  the  other  hand,  in  his  book  on  engraving, 
declares  it  to  be  his  favorite  among  R.'s  etchings. 


81.  The  Descent  from  the  Cross.  Large  plate. — 
Bl  56  ;  B  81  ;  W  83  ;  M  186  ;  Du  88.  —  Signed  :  Retnbrant. 
ft.  (^/omitted).     Dated  1633. 

Plate  spoiled  in  the  biting.  Fragment  only  shown 
(photogravure),  as  given  by  Mr.  Haden  in  his  monograph, 
"The  Etched  Work  of  R."  M.  of  F.  A. 


REMBRANDT'S   ETCHINGS.  1$ 

82.  The  Descent  from  the  Cross.  Large  plate. 
Second  Version.  —  Bl  56  ;  B  81  ;  W  84;  M  187  ;  Du  88. 
—  Signed:  Rembrandt. f.  cvm pryvl.     Dated  1633. 

Four  states ;  two  shown  :  — 

(a.)     2d  state.  Gray  Coll. 

(b.)     3d  state.  Sewall  Coll. 

Evidently  executed  with  the  aid  of  a  pupil,  whom  Mr.  Haden 
("  Monograph,"  p.  27)  supposes  to  have  been  Lievens,  an  opinion 
which  M.  combats. 

83.  Adverse  Fortune. —  Bl  81;  B  in;  W115;  M 
262  ;  Du  112.  —  Signed:  Rembrandt/.     Dated  1633. 

Three  states  ;  3d  state  shown  in  three  impressions  :  — 
{a.')     Without  text  on  back.  Gray  Coll. 

(b.)     With  text  on  back.  Seivall  Coll. 

{c.)     Without  text  on  back.  Seivall  Coll. 

The  1st  state,  before  the  cutting  of  the  plate,  etc.,  is  reproduced  in 
Dutuit's  book,  but  one  of  the  alleged  distinctive  marks  of  this  state, 
the  failure  of  the  acid  in  the  shading  between  the  wings  of  the  half- 
closed  door  on  the  left  of  the  print,  is  lost  in  the  reproduction.  The 
three  impressions  here  shown  as  3d  states  differ  slightly.  No  trace 
whatever  of  the  full  name,  "  Rembrandt,"  can  be  discovered  (even 
under  the  magnifying  glass)  on  the  side  of  the  vessel  on  a,  but  an 
abbreviation  of  the  name,  "  Rembr.,"  has  been  added,  apparently  by 
hand.  The  second  impression  b,  with  text  on  the  back,  corresponds  to 
tlie  description  ordinarily  given  of  the  3d  state.  Impression  c  shows 
some  additional  work  in  the  shading  between  the  wings  of  the  door, 
and  would,  therefore,  strictly  speaking,  constitute  a  4th  state,  although 
it  is  in  every  way  finer  and  more  desirable  than  b,  showing  that  the 
paltry  differences  which  generally  constitute  "  states "  are  not  always 
to  be  relied  upon  as  evidences  of  quality.  —  V.  proposes  a  new  title  for 
this  plate,  viz. :  "  The  History  of  St.  Paul "  (see  his  "  Rembrandt,"  2d 
ed.,  pp.  124  and  125).  Messrs.  Haden  and  Middleton  think  the  plate 
was  etched  by  one  of  R.'s  pupils,  possibly  Bob,  and  M.  is  of  opinion 
that  "  the  print  itself  has  very  little  merit."  Bl.,  on  the  contrary,  con- 
siders it  "  one  of  the  happiest  compositions  of  R." 

84.  Jan  Cornells  Sylvius. —Bl  186;  B  266;  W 
268;  M  no;  Du  268,  —  Signe4 ;  Rembrandt.  Dated 
1633.     M-  reads  1634, 

One  state  only  ?  Sewall  Coll, 


1 6  FIRST  PRINT  ROOM. 

85.  Rembrandt's  Mother.  —  BI191;  6351;  W346; 
M  loi  ;  Du  339.  —  Signed:  Rembrandt,  ft.     Dated  1633. 

Three  states  ;  2d  state  shown.  Gray  Coll. 

86.  Rembrandt,  with  a  scarf  around  his  neck.  —  Bl 
229  ;  B  17  ;  W  17  ;  M  99  ;  Du  17.  —  Signed :  Rembrandt. 

ft.     Dated  1633. 

Three  states ;  3d  state  shown  :  — 

(at.)     Proof.  Sewall  Coll. 

{b.)     Counterproof.  Sewall  Coll. 

87.  Rembrandt,  in  a  fur  cap  and  dark  dress.  —  BI 
210;  B  6  ;  W  6  ;  M  17;  Du  6.  —  Assigned  to  1633  by  V., 
to  1630  by  M. 

Two  states;  2d  state  shown.  Sewall  Coll. 

88.  Rembrandt,  with  the  bird  of  prey.  —  Bl  207  ;  B 
3  ;  W  3  ;  M  100;  Du  3. —  Assigned  to  between  1632  and 
1634  by  v.,  to  1633  by  M. 

Three  states;  2d  state  shown  in  photogr,  R'rom  Bl.^s  R. 

Supposed  to  have  been  finished  by  some  pupil,  possibly  Van  Vliet, 
according  to  Bl.  Mr.  Haden  also  points  to  Van  Vliet  as  the  possible 
author  of  the  plate. 

89.  Rembrandt,  with  bushy  hair,  and  strongly  shaded. 
—  BI227;  B  332;  W34;  M  43;  Du  34. —  Assigned  to 
1633  by  v.,  to  1631  by  M. 

Two  states;   ist  state  shown  in  photogr.    J^rom  BL's  R. 

"  Very  doubtful,"  according  to  V.  The  monogram,  Ri  (although 
the  i  might  be  a  small  capital  L),  seems  to  appear  only  in  the  second 
state,  reproduced  by  Dutuit.  , 

90.  Joseph  and  Potiphar's  Wife.  —  Bl  n  ;  B  39  ; 
W  43  ;  M  192  ;  Du  43.  —  Signed  :  Rembrandt,  ft.  Dated 
1634. 

Two  states.  Not  shown. 

91.  The  Angel  appearing  to  the  Shepherds. — 
Bl  17;  B44;  W49;  M  191;  Du  49.-^^  Signed:  Rem- 
brandt, ft.     Dated  1634. 

Thr^e  states  ;  3d  state  shown,  Gray  Colly 


REMBRANDT'S    ETCHINGS.  1/ 

92.  The  Samaritan  Woman  at  the  Ruins. — Bl 
46 ;  B  71  ;  W  75  ;  M  195  ;  Du  73.  —  Signed  :  Rembrandt. 
f.     Dated  1634. 

Two  states  (according  to  M.)  :  — 

(a.)     2d  state  (with  the  scratch  in  the  foreground). 

Gray  Coll. 
{l>.)     2d  state  (without  the  scratch).  Sewall  Coll. 

Bl.  says  that  the  description  of  the  states  of  this  plate  has  hitherto 
been  unreliable,  but  that  the  three  states  described  by  him,  according 
to  Weber,  settle  the  question.  M.  refuses  to  recognize  the  three  states 
and  allows  only  two.  In  spite  of  all  this,  however,  it  is  still  a  difficult 
matter  to  determine  the  states,  from  the  descriptions  given.  Im 
pression  a  would  seem  to  be  M.'s  2d  state,  as  it  has  the  diagonal 
scratch  in  the  white  part  of  the  foreground,  etc.  In  impression  b,  on 
the  other  hand,  —  evidently  in  all  essentials  the  same  state,  —  this 
scratch  is  not  seen,  and  there  is  also'noticeable  a  difference  in  the  shad- 
ing over  the  left  foot  of  Jesus.  It  is  curious  that  a  writer  like  Bl.,  with 
his  practical  knowledge,  should  place  any  reliance  upon  such  marks, 
for  a  little  experience  at  the  printing  press  is  sufficient  to  show  their 
unrelialjility.  A  scratch  on  the  copper  may  result  from  a  particle  of 
hard  matter  in  the  rag,  and  may  show  in  a  number  of  impressions, 
until,  the  printer  discovering  it,  it  is  removed  by  him  with  a  touch  of 
the  burnisher.  Much  more  interesting  is  it  to  note  the  evident  influ- 
ence of  Rubens  in  the  figure  of  Jesus,  not  only  in  the  head,  but  in 
the  whole  of  the  pose.  According  to  Mr.  Iladen,  Gerard  Dow  is  the 
reputed  author  of  the  composition  of  this  plate . 

93.  Jesus  and  the  Disciples  at  Emmaus.  (The 
small  plate.)  —  Bl  62  ;  B  88  ;  W  93  ;  M  194  ;  Du  95.  — 
Signed:  Rembrandt  ft.     Dated  1634. 

One  state  only.  Sc^vall  Coll. 

Although  M.  allows  only  one  state,  he  nevertheless  says  that "  the  plate 
was  coarsely  retouched  at  some  later  time."  The  influence  of  Rubens  is 
again  very  apparent  in  this  etching,  more  especially  in  the  figure  of  Jesus. 

94.  St.  Jerome,  reading  at  the  foot  of  a  tree. —  Bl 
71;   B  100;  W   105;   M   190;  Du   103.  —  Signed:  Rem- 
brandt./.    Dated  1634. 

Two  states  ;  2d  state  shown.  Seumll  Coll. 

v.,  following  the  usual  reading,  makes  the  date  (which  can  be  read 
only  with  difficulty)  1654.  But  it  is  evidently  1634  in  consonance 
with  the  character  of  the  work,  which  is  that  of  R.'s  earlier  period. 
M.  thinks  he  sees  the  hand  of  Bol  in  parts  of  the  plate.  Mr-  Haden 
^so  ig  iijcUijed  to  attribute  it  to  Bo], 


1 8  FIRST  PRINT  ROOM. 

95.  A  Beggar,  "tis  vinnich  hout."  —  Bl  140;  B 
177;  W  174;  M  112;  Du  173.  —  Signed:  Rembrand  (no 
/,  there  being  no  room  on  the  plate  for  it)  f.  (under  the 
name).     Dated  1634. 

One  state  only.  Sewall  Coll. 


96.  A  Beggar.  "Dats  niet."  — Bl  141  ;  B  178  ;W  175  ; 
M  113;  Du  174.  —  Signed  and  dated:  Iiembra?if  162,,  in 
two  lines,  the  last  letters  of  the  name  and  the  last  figure  of 
the  date  wanting,  there  being  no  room  for  them.  Assigned 
to  1634  by  V,  and  by  M. 

One  state  only.  Sewall  Coll. 

These  companion  pieces  represent  peasants  rather  than  beggars. 
The  last  word  in  the  legend  on  No.  95  is  always  given  as  ^out,  but 
it  is  clearly  hovii.  According  to  Mr.  liaden,  "Rembrandt  copied" 
these  two  plates  from  Hans  Sebald  Beham,  and  "  Savry  etched  "  them. 
To  show  how  closely  R.  "  copied  ",  Beham's  engravings,  in  faithful 
reproductions,  have  been  placed  alongside  of  the  etchings. 


97.     Woman  seated  with  hair  let  down.  (The  Great 

Jewish  Bride.)  —  Bl  199;  B  340;  W  337;  M  108;  Du 
329.  —  Signed:  R  (reversed).     Dated  1634. 

Four  states  ;  4th  state  shown.  Stivall  Coll. 

This  etching  has  also  been  called  "  Saskia,"  which  is  simply  a  liljel 
upon  Rembrandt  and  his  charming  first  wife.  If  the  plate  were 
rejected,  that  would  seem  more  natural.  Even  the  more  preferable  ist 
state,  reproduced  by  Dutuit,  is  unworthy  of  its  proposed  new  title  and 
of  its  reputed  authorship. 


98.     Supposed  study  for  No.  97. —  Bl  239  ;  B  341  ; 
Du  330.  —  Assigned  to  1634  by  V.,  rejected  by  M. 

Two  states  (?)  ;  2d  state  shown.  Savall  Coll. 

V.  and  Bl.  both  doubt  this  plate.     W.,  like  M.,  rejects  it. 


99.  A  Young  Woman  reading.  —  Bl  242;  B  345; 
W  341 ;  M  109  ;  Du  334.  —  Signed  :  Rembrandt./.  Dated 
1634. 

Three  states;  3d  (?)  state  shown,  SewaU  Coll, 


REMBRANDT'S   ETCHINGS.  1 9 

100.  A  Young  Woman  with  pearls  in  her  hair.  — 
Bl  201;  B  347  ;  W  342;  M  107;  Du  335.  — Signed: 
Rembrandt,  f.     Dated  1634. 

One  state  only.  Sewall  Coll. 

This  has  also  been  called  a  portrait  of  Saskia,  R.'s  first  wife. 

loi.     Rembrandt,  with  moustaches  and  small  beard. 

—  Bl  206;    B  2;    W   2;    M    106;    Du    2.  —  Assigned    to 
between  1632  and  1634  by  V.,  to  1634  by  M. 

Two  states ;  2d  state  shown.  Sewall  Coll. 

102.  Rembrandt,  with  bushy  hair. — BI212;  B  8  ;  W 
8;  M  50;  Du  8.  — Assigned  to  1634  by  V.,  to  1631  by  M. 

Six  states  ;  three  shown  :  — 

{a.^     TSt  state  in  photogravure.  Frotn  Bl.^s  R. 

(l>.)     4th  state.  Gray  Coll. 

{c.)     5th  state.  Setvall  Coll. 

M.  assumes  that  the  additional  work  on  the  3d  and  4th  states  is  by 
R.'s  pupils.  That  on  the  5th  and  6th  states,  according  to  the  same 
writer,  is  supposed  to  belong  to  a  much  later  time.  Mr.  Haden  speaks 
of  this  plate  as  a  "vile  copy  "  by  Van  Vliet. 

103.  Head  of  Rembrandt  and  other  sketches  — Bl 
237;  B  363  ;  W  357;  M  136;  Du  351.  — Assigned  to 
about  1634  by  V.,  to  1639  by  M. 

Three  states;  2d  state  shown  in  two  impressions  :  — 
(«:.)     A  heavy  tint  left  upon  the  plate,  parts   only 
wiped  clean  with  the  finger.  Setvall  Coll. 

{b.)     Wiped  clean.  Sewall  Coll. 

104.  Rembrandt  with  a  flamboyant  sword.  —  Bl 
231;  B  18;  W  18;  M  105;  Du  18. —  Signed:  Rem- 
brandt, f.     Dated  1634. 

Three  states  ;  3d  state  shown.  Seivall  Coll. 

105.  Rembrandt  with  a  sword,  wearing  a  tufted  cap. 

—  Bl  232  ;   B  23  ;  W  23  ;  Mm;  Du  23.  —  Signed  :  Rem- 
brandt ft.     Dated  1634. 

Four  states  ;  three  shown  :  — 

(rt!.)      I  St  state  in  photogravure.  From  Bl.^s  R. 

{b.)     2d  state  in  photogravure.  From  Du.'s  R. 

{e.)     3d  state.  Sewall  Coll. 


20  FIRST  PRINT  ROOM. 


The  recklessness  and  lack  of  judgment  with  which  R.'s  name  has 
been  connected  with  the  male  heads  etched  by  or  attributed  to  him,  are 
easily  seen  upon  a  comparison  of  Nos.  104  and  105.  M.  calls  the 
latter  a  "  Portrait,  Unknown."  V.  thinks  it  rather  a  study  from  R.'s 
figure  than  a  portrait.  But  the  face  certainly  has  a  marked  individual- 
ity, and  the  mole  at  the  right  of  the  nose  would  hardly  be  in  place  in 
an  ideal  head. 


106.  The  Landscape  with  the  Cow  (Ruins  on 
the  Seashore).  —  Bl  309;  B206;  W  203;  Du  203. — 
Monogram  RHL.  f.  Dated  1634.  V.  thinks,  however, 
that  the  date  has  been  added  by  hand.     Rejected  by  M. 

Two  states ;  2d  state  shown  in  photogr.     From  Bl.'s  R. 

107.  Jesus  Driving  the  Money  Changers  from 
the  Temple.  —  Bl  44 ;  B  69  ;  W  73  ;  M  198  ;  Du  80.  — 
Signed  :  Rembramit.ft.     Dated  1635. 

Two  states  ;  both  shown :  — 

(<7.)     ist  state.     .  Sewall  Coll. 

{b.')     2d  state.  Sewall  Coll. 

The  difference  between  the  two  "  states"  of  this  plate  shows  plainly 
the  puerile  character  of  many  of  the  distinctions  involved.  M.'s  order 
of  states,  which  is  the  usual  order,  has  here  been  followed,  although 
Bl.,  who  inverts  it,  is  no  doubt  correct.  There  do  not,  in  fact, 
exist  two  states.  The  dark  spots  around  the  mouth  and  on  the  fore- 
head and  sole  of  the  man  under  the  ox  are  due  evidently  to  an  acci- 
dent, and  were  burnished  out  or  disappeared  of  themselves,  after  a 
number  of  impressions  had  been  taken.  They  are,  therefore,  evidences 
of  priority  rather  than  otherwise.  The  figure  of  Christ,  it  is  well 
known,  is  a  reversed  copy  of  a  figure  in  Dlirer's  Little  Passion. 

108.  The  Tribute  Money.  —  Bl  42  ;  B  68  ;  VV  72  ; 

M  196  ;  Du  8t.  — Assigned  to    1635  by  V.,  to  1634  by  M. 
One  state  only.  Sewall  Coll, 

Three  states  are  usually  described,  but  according  to  M.,  there  is 
practically  only  one  state. 


109.  The  Martrydomof  St.  Stephen.  — Bl  68;  B 
97;  W  102;  M  197;  Du  100. —  Signed:  Rembrandt,  ft. 
Dated  1635. 

One  state  only.  Gray  Coll. 


REMBRANDT'S   ETCHINGS. 


Two  states  are  usually  described,  but  according  to  M.,  there  is  prac- 
tically only  one  state,  although  he  admits  that  there  are  impressions 
from  the  plate  after  it  had  been  "  coarsely  reworked." 

110.  St.  Jerome  Kneeling.  —  Bl  73;  B  102;  W 
107;    M  199;    Du    105.  —  Signed:   Rembrandt f.     Dated 

1635. 

One  state  only.  Seivall  Coll, 

111.  The  Mountebank.  —  Bl  92  ;  B  129;  W  132; 
M  117  ;  Du  129.  —  Signed  :  Rembrajidt ft.     Dated  1635. 

One  state  only.  Setvall  Coll. 

112.  The  Pancake  Woman. — Bl  93;  B  124;  W 
128;  M  264  ;  Du  125.  —  Signed:  Rembrandt,  ft.     Dated 

1635- 

Four  states  ;  3d  state  shown.  Sewall  Coll. 

113.  A  Nude  Woman,  sitting  on  a  hillock. — Bl 
162;  B  198;  W  195;  M  256;  Du  195. — Assigned  to 
1635  by  v.,  to  1631  by  M. 

One  state  only.  Sewall  Coll. 

114.  Johannes  Uytenbogaert. — Bl  190;  B  279; 
W  281  ;  M  114  ;  Du  272.  —  Signed  and  dated  in  3d  state  : 
Rembrandt,  f     1635. 

Five  states;  two  shown  :  — 

(rt!.)     3d  state  in  photogravure.  Sewall  Coll. 

(b.)     5th  state.  Seivall  Coll. 

(c.)     5th  state.  Sewall  Coll. 

The  signature  does  not  appear  to  be  by  R.  himself.  The  />,  the  d, 
and  the/of  the/eci^are  quite  different  from  the  form  of  these  letters 
usually  employed  by  him.  Two  impressions  of  the  5th  state  are  exhib- 
ited, to  show  difference  in  printing  and  condition  of  plate. 

115.  Oriental  Head.  Full  face.  (Jacob  Cats.)  — 
Bl  173;  B  286;  W  288;  M  122;  Du  283.— Signed:  Rem- 
brandt.    Dated  1635. 

Two  states;  2d  state  shown.  Sewall  Coll. 

The  assumption  that  this  is  a  portrait  of  Cats,  the  poet,  has  been  dis- 
proved by  V.     See  No.  117. 


22  FIRST  PRINT  ROOM. 

ii5.  Oriental  Head.  Profile,  to  right.  —  Bl  289;  B 
288;  W  290;  M  124;  Du  285.  —  Signed:  Rembrandt. 
Dated  1635. 

One  state  only.     Shown  in  photogravure.  Fro7n  Bl.^s  R. 

The  signature  does  not  look  like  R.'s.     See  No.  117. 

117.  Oriental  Head.  Profile,  to  left.  — Bl  288;  B 
287;  W  289;  M  123;  Du  284.  —  Signed:  Rembrandt. 
Assigned  to  1635  by  V.  and  by  M. 

One  state  only.  Sewall  Coll. 

Upon  the  three  etchings  catalogued  under  Nos.  11 5-1 17  appears  the 
mysterious  word  which  has  been  read  Venetiis  and  reneius,  l)ut  which, 
according  to  V.,  reads  gcretuckenU,  that  is  to  say,  rctotiched.  It  is 
likely,  therefore,  that  these  plates  are  the  work  of  a  pupil,  retouched  by 
R.  The  signatures  on  Nos.  116  and  117  have  peculiarities  which 
plainly  distinguish  them  from  other  signatures  usually  considered  gen- 
uine. Mr.  Haden's  opinion  of  these  plates  can  be  read  on  p.  28  of  his 
"  Monograph." 

118.  The  Crucifixion.  Small  plate.  —  Bl  55  ;  B80; 
W  86  ;  M  193  ;  Du  87.  —  Signed  :  Rembrandt f.  Assigned 
to  between  1630  and  1635  by  V.,  to  1634  by  M. 

One  state  only.  Sewall  Coll. 

Three  states  are  usually  described,  but  according  to  M.,  there  is  only 
one.    The  signature,  which  is  very  faint,  hardly  looks  like  R.'s. 

119.  The  Travelling  Musicians.  —  Bl  90;  B  119; 
W  123;  M  263  ;  Du  120. —  Assigned  to  between  1630  and 
1635  by  v.,  to  1635  by  M. 

Two  states  ;  2d  state  shown.  Sewall  Coll. 

120.  St.  Peter  Healing  the  Cripple.  —  Bl  65;  B 
95;  W  99  ;  M  249;  Du  98.  —  Assigned  to  between  1630 
and  1635  by  V.,  to  1655  %  M. 

One  state  only.     Shown  in  photogravure.   From  Bl.'s  R. 

121.  A  Polander,  turned  towards  the  right.  —  Bl  107  ; 
B  140 ;  W  140 ;  M  102  ;  Du  138.  —  Assigned  to  between 
1630  and  1635  by  V.,  to  1633  by  M. 

Two  states  :  2d  state  shown.  Sewall  Coll. 


REMBRANDT'S   ETCHINGS.  2$ 

122.  A  Polander,  with  sabre  and  stick.  —  Bl  ii8; 
B  141;  W  141;  M  93  ;  Du  139.  —  Assigned  to  between 
1630  and  1635  by  V.,  to  1632  by  M. 

Six  states ;  two  shown  :  — 

(a.)      I  St  state.     Shown  in  photogr.        J^rom  Bl.'s  R. 
(d.)     5th  state.  Sewall  Coll, 

M.  thinks  that  the  additional  work  after  the  fourth  state  is  not  by  R. 

123.  An  Old  Man  with  a  bushy  beard.  —  BI  115;  B 
151;  W  149;  M  32;  Du  147.  —  Monogram  RffL,  re- 
versed. Assigned  to  between  1630  and  1635  by  V.,  to 
1630  by  M. 

Two  states;  2d  state  shown.  Sewall  Coll. 

124.  The  White  Negress.  —  BI  241;  B  357;  W 
351;  Du  345.  —  Reversed  monogram  on  first  state.  As- 
signed to  between  1630  and  1635  t>y  V.,  rejected  by  M. 

Two  states  ;  2d  state  shown.  Sewall  Coll. 

125.  A  Young  Man  in  a  mezetin  cap.  —  Bl  255;  B 
289;  W  291;  M  125;  Du  286.  —  Monogram,  ap^Darently 
RHL,  but  only  partly  visible.     Assigned  to  between  1630 

and  1635  ^y  ^v  ^o  ^^35  ^Y  ■'^• 

Two  states;  2d  state  shown.  Sewall  Coll. 

126.  Bust  of  a  Man,  with  a  ruflf,  and  feathers  in  his 
hat.  —  Bl  261  ;  B  335  ;  W  331  ;  M  2  ;  Du  326.  —  Placed 
by  V.  among  the  pieces  assigned  to  between  1630  and 
1635  ;  assigned  to  1628  by  M. 

Two  states;  ist  state  shown  in  photogr.     From  Bl.'s  R. 

Of  all  the  ridiculous  things  attributed  to  R.,  this  little  head  is  the 
most  ridiculous.  V.  does,  indeed,  consider  it  doubtful,  but  places  it  as 
stated,  probably  on  the  strength  of  a  scratch  in  the  background  which 
looks  like  a  5.  Bl., M.,  and  Du.  accept  it  without  qualification,  and  M. 
places  it  second  on  his  chronological  list,  in  close  proximity  to  the 
admirable  portrait,  No.  4,  of  this  catalogue. 

127.  An  Old  Man,  in  profile,  with  a  short  beard.  — 
Bl  294;  B  306  ;  W  306  ;  M  120;  Du  302.  —  Assigned  to 
between  1630  and  1635  by  V.,  to  1635  ^1  ^* 

Two  states  ;  2d  state  shown.  Sewall  Coll. 


24  FIRST  PRINT  ROOM. 

128.  Sketches  of  figures,  divided  by  a  line. —  Bl  123  ; 
B  373  ;  W  367;  M  i;  Du  361.  —  Assigned  to  between 
1630  and  1635  by  V.,  to  1628  by  M. 

One  state  only.     Shown  in  photogravure.     From  Bl.^s  R. 

M.  sees  in  these  sketches  R.'s  first  attempt  at  etching. 


129.  A  Beggar,  warming  his  hands. —  Bl  135  ;  B  173  ; 
W  170;  M  14;  Du  169.  —  Assigned  to  between  1630  and 
1635  by  v.,  to  1629  by  M. 

Two  states ;  2d  state  shown.  Sewall  Coll. 


130.     A  Grotesque  Head  in  a  high  fur  cap.  —  Bl  301 ; 
B  326  ;    W  324;    M  98  ;    Du  319. — Assigned  to  between 
1630  and  1635  by  V.,  to  1632  by  M. 
Four  states  ;  two  shown  :  — 

(a.)     3d  stale  (?)  in  photogravure.         From  Bl.'s  R. 
lb.)     4th  state  (.?).  Sewall  Coll. 

M.'s  description  does  not  fit  the  impressions  shown,  nor  does  it  cor- 
respond with  Bl.'s. 


131.  An  Old  Man,  in  an  ample  velvet  cloak  and  with 
a  fur  cap.  —  Bl  270;  B  262;  W  264 ;  M  90;  Du  278. — 
Monogram  RHL  ft.  Assigned  to  between  1630  and 
1635  t>y  v.,  to  1632  by  M. 

Three  states ;  2d  state  shown.  Sewall  Coll. 


132.  An  Old  Man,  with  a  turned-up  cap  (in  the  2d 
state).  —  Bl  280;  B  337;  W  332;  M  96  ;  Du  327.  —  As- 
signed to  between  1630  and  1635  by  V.,  to  1632  by  M. 

Three  states  ;  3d  state  shown  in  photogr.     From  Bl.'s  R. 


133.     An  Old  Woman,  asleep  over  her  book.  —  Bl 
244;    B  350;    W  345;    M  116;  Du  338.  —  Assigned  to 

about  1635  t>y  ^ ">  to  ^^35  ^Y  ^* 

One  state  only.  Sewall  Coll. 


REMBRANDT'S   ETCHINGS.  2$ 

134.  Head  of  a  Man  crying  out.  —  Bl  299  ;  B  327  ; 
W  325  ;  M  97  ;  Du  320.  — Assigned  to  between  1630  and 
1635  by  v.,  to  1632  by  M. 

Two  states  ;  both  shown  :  — 

(a.)     I  st  state.  Sewall  Coll. 

{b.)     2d  state.  Sewall  Coll. 

135.  Sketches  of  five  heads  and  a  half-length  figure. 
— 151  308 ;  B  366  ;  W  360  ;  M  83  ;  Dii  354.  —  Monogram 
RHL^  reversed.  Assigned  to  between  1630  and  1635  by 
v.,  to  163 1  by  M. 

Two  states ;  ist  state  shown  in  photogr.     From  Bl.'s  R. 

The  plate  was  afterwards  cut  into  five  pieces.     See  Nos.  136  to  140. 

136.  Bust  of  an  Old  Man,  in  profile  to  right.  (Part 
of  No.    135.)  —  Bl  290  ;  B  334  ;  W  330  ;  M  84  ;  Du  325. 

Two  states  ;  2d  state  shown  in  photogr.      From  Bl.'s  R. 

137.  Bust  of  an  Old  Man,  and  head  of  a  cat. 
(Partof  No.  135.)— BI292;  B  333  ;  W329;M85;  DU324. 

Five  states  ;  2d  state  shown  in  photogr.      From  Bl.'s  R. 

138.  An  Old  Man,  seen  from  behind.  (Part  of  No. 
135.)     Bl  109;  B  143;  W  143;  M86;  Du  141. 

Four  states  ;  two  shown  :  — 

(at.)     2d  state.  Seivall  Coll. 

(b.)     4th  state.  Sewall  Coll 

M.  thinks  the  work  on  the  4th  state  due  to  a  later  hand. 

139.  A  Turkish  Slave.  (Partof  No.  135.)  —  Bl 
293  ;    B  303  ;  W  303  ;  M  87  ;  Du  299. 

Two  states  ;  2d  state  shown  in  photogr.      From  Bl.'s  R. 

140.  Bust  of  a  Man,  crying  out,  turned  to  the  left. 
(Partof  No.  135.)  —  BI291  ;  B30o;W3oo;  M  88  ;  Du  296. 

Five  states  ;  two  shown  :  — 

(rt-.)     2d  state  in  photogravure.  From  Bl.'s  R. 

{b.)     5th  state.  Seioall  Coll. 

According  to  M.  the  variations  in  the  3d  and  later  states  were  not 
made  by  R. 


26  FIJiST  PRINT  ROOM. 


141.  The  Haycart.  —  Bl  345;  B  251;  VV  247;  Du 
248.  —  Assigned  to  between  1630  and  1635  by  V.,  rejected 
by  M. 

Two  states;  ist  state  shown  in  photogr.    From  Bl.'s  R. 

142.  Sketch  of  a  Dog.  —  Bl  351  ;  B  371;  W  365; 
M  266;  Du  359.  —  Assigned  to  between  1630  and  1635  by 
v.,  to  1640  by  M. 

One  state  only.     Shown  in  photogravure.  From  Bl's  R, 

143.  The  Return  of  the  Prodigal. —  Bl  43  ;  B  91  ; 
W  96 ;  M  201;  Du  76.  —  Signed:  Rembrandt/.  Dated 
1636. 

One  state  only.  .  Sewall  Coll. 

The  composition  of  this  plate  is  said  to  be  by  Heemskirk. 

144.  The  Ecce  Homo.  —  Bl  52  ;  B  77  ;  W  82  ;  M 
200;  Du  84.  —  Marked  in  3d  state,  with  the  graver,  quite 
lightly  and  very  clumsily :  Rembrandt  ft.   i6j6.    ci'm  privileg. 

Five  states  ;  two  shown  :  — 

(d!.)     3d  state.  Gray  Coll. 

(b.)     4th  state.  Se%i>all  Coll. 

Mr.  Iladen  in  his  "  Monograph  "  gives  a  reproduction  of  a  part  of  the 
unfinished  ist  state,  showing  the  engraver-like  manner  in  which  the 
work  was  done.  The  plate  was  probaljly  executed,  partly  at  least,  by 
Lievens  or  Van  Vliet.  To  the  copies  described  by  M.  must  be  added 
another,  rather  effective  as  a  whole,  although  very  mediocre  in  detail; 
etched  surface,  h.-.537,  b.-.444;  marked  Rembrandt  f.  in  a  clear 
space  below.     An  impression  in  the  Museum  of  P'ine  Arts. 

145.  Landscape  with  a  Flock  of  Sheep.  Arched. 
—  BI325;  B  224;  W  221;  M  319;  Du  221.  —  Signed  : 
Rembrandt  f.      Dated  1636. 

Two  states;  2d  state  shown.  Sewall  Coll. 

M.  reads  the  date  1650,  but  on  the  impression  shown  it  is  evidently 
1636. 

146.  Landscape  with  a  Milkman.  —  Bl  316  ;  B  213  ; 

W  210;  M  320;  Du  210.  —  Assigned  to   1636    byV.,to 
1650  by  M. 
Two  states  ;  2d  state  shown.  Gray  Coll. 


REMBRANDT'S   ETCHINGS.  2/ 

147.  The  House  on  the  Banks  of  the  Canal.  —  Bl 

342  ;  B  245  ;  W  241  ;  Du  242.  —  Assigned  to   1636  by  V., 
rejected  by  M. 

Two  states;  ist  state  shown  in  photogr.      From  Bl.^sR. 

148.  Mennaseh-Ben-Israel.  —  Bl  183  ;  B  269  ;  W 
271  ;  M  127;  Du  266.  —  Signed:  Rembrandt  f.  Dated 
1636. 

Two  states;  2d  state  shown.  Sewall  Coll. 


w 


149.  Rembrandt  and  his  Wife.  —  Bl  203;  B  19; 
W  ig  ;  M  128;  Du  19.  —  Signed:  Rembrandt/.  Dated 
1636. 

One  state  only.  Sewall  Coll. 

150.  Saskia,  and  five  other  heads. — Bl  249;  B 
365;  W  359;  M  129;  Du  353.  —  Signed:  Rembrandt.  /. 
Dated  1636. 

Two  states  ;  ist  state  shown.  Sewall  Coll. 

151.  Saskia,  and  two  other  heads. — Bl  250;  B  367  ; 
W  361  ;  M  115  ;  Du  355.  —  Assigned  to  between  1634  and 
1636,  probably  the  latter  year,  by  V.,  to  1635  ^y  M. 

Two  states  ;  2d  state  shown.  Sewall  Coll. 

152.  Abraham  Sending  away  Hagar  and  Ish- 
mael.  —  Bl  3  ;  B  30  ;  W  37  ;  M  204 ;  Du  37.  —  Signed  : 
Rembratidtf.     Dated  1637. 

One  state  only.  Sewall  Coll. 

153.  A  Young  Man,  seated,  reflecting.  — Bl  258  ;  B 
268;  W  270;  M  132;  Du  282.  —  Signed:  Rembrandt/. 
Dated  1637. 

One  state  only.  Sewall  Coll. 

R.'s  signature  about  this  time,  beginning  with  plate  No.  148,  shows 
curioxis  changes.  There  is  something  fanciful  in  the  signatures  on 
plates  149,  150,  and  153,  which  at  first  sight  seems  to  throw  a  doubt 
upon  their  genuineness. 


28  FIRST  PRINT  ROOM. 

154.  An  Old  Man,  wearing  a  rich  velvet  cap.  —  Bl 
269;  B  313;  W  314;  M  131;  Du  309.  —  Signed:  Retn- 
braiidtf.     Dated  1637. 

One  state  only.  Sewall  Coll. 

The  name  and  date  have  been  erased  on  the  impression  shown. 


155.  Saskia,  and  two  other  heads  of  women,  one 
asleep.  — Bl  251  ;  B  368  ;  W  362  ;  M  130;  Du  356.  — 
Signed:  Rembrafidt f.     Dated  1637. 

One  state  only.  Sewall  Coll. 


156.  Adam  and  Eve.  —  Bl  i  ;  B  28  ;  W  35  ;  M  206  ; 
Du  35.  —  Signed  :  Reinbrandt.  ft.     Dated  1638. 

Two  states  ;  2d  state  shown  :  — 

{a?)     Original  impression.  Sewall  Coll. 

{b.)     The  "  deceptive  copy,"  described  by  Bartsch. 

Sezvall  Coll. 

The  copy  is  shown  to  put  collectors  on  their  guard.  Bl.,  in  his 
"Oeuvre  de  R."  of  1873,  reproduces  this  copy  as  the  original.  In  the 
later  "  Oeuvre  "  of  1880,  the  original  is  reproduced,  and  the  copy  is 
alluded  to  in  the  text,  but  the  reader's  attention  is  not  called  to  the  error 
in  the  previous  edition,  —  a  precaution  which  certainly  ought  to  have 
been  taken,  as  collectors  are  likely  to  be  misled,  and  have  been  mis- 
led, by  Bl.'s  curious  mistake. 

157.  Abraham  caressing  Isaac.  —  Bl  4 ;  B  33  ;  W 
135*;  M  203  ;  Du  38.  —  Signed:  Rembrandt./.  Assigned 
to  about  1637  to  1639  by  V.,  to  1636  by  M. 

One  state  only.  Gray  Coll. 

M.  is  inclined  to  doubt  this  piece,  and  to  attribute  it  to  Bol. 

158.  Joseph  telling  his  Dreams.  —  Bl  9  ;  B  37  ; 
W  41  ;  M  205;  Du  41.  —  Signed:  Rembrant  f.  Dated 
1638. 

Two  states  ;  both  shown  :  — 

(a.)     I st  state.  Sewall  Coll. 

(^.)     2d  state.  Seivall  Coll. 

The  signature  is  very  difficult  to  make  out,  and  seems  to  lack  the  d. 


REMBRANDT'S   ETCHINGS,  29 

159.  St.  Catherine.  (The  Little  Jewish  Bride.)  — 
Bl  200;  B  342;  W  338;  M  135;  Du  331.  —  Signed: 
Rembrandt f.     Dated  1638.     The  whole  reversed. 

One  state  only.  Gray  Coll. 

The  fact  that  the  writing  is  reversed,  but  more  especially  the  style  of 
the  figures,  throws  a  strong  doubt  upon  the  genuineness  of  the 
signature. 

160.  Rembrandt,  wearing  a  mezetin  cap  with  a 
feather.  —  BI233;  B20;  W20;  M134;  Du2o.  —  Signed: 
Rembrandt,  f.     Dated  1638. 

One  state  only.  Sewall  Coll. 

Bl.  describes  two  states,  but  according  to  M.  the  variations  are  due  to 
wearing.  Upon  the  impression  shown  there  are  some  slight  retouches 
in  India  ink.  Most  writers  go  out  of  their  way  to  give  special  praise  to 
this  awkward  and  ugly  portrait,  which  cannot  possibly  represent  R. 
Note  the  wooden  stump  of  a  hand,  the  unintelligent  way  in  which  the 
folds  of  the  cloak  are  indicated,  and  the  clumsiness  with  which  the 
ornaments  on  the  cloak  are  etched.  No  beauty  of  impression  can 
remedy  these  defects. 

161.  Rembrandt  in  a  flat  cap.  —  Bl  216;  B  26  ;  W 
26  ;  M  133  ;  Du  26.  —  Assigned  to  1638  by  V.  and  by  M. 
Signed:  Rembrandt  very  faintly  in  the  ist  state;  name  re- 
etched  by  another  hand  in  the  2d  state. 

Two  states;  ist  state  shown.  Sewali  Coll. 

On  the  impression  exhibited  the  name  is  not  visible.  V.  considers 
this  piece  doubtful. 

162.  The  Sleeping  Dog.  —  Bl  352  ;  B  158  ;  W  155  ; 
M  267  ;  Du  154.  —  Assigned  to  1638  by  V.,  to  1640  by  M. 

Three  states ;  3d  state  shown.  Sewall  Coll. 

163.  The  Presentation  in  the  Vaulted  Temple. 
—  Bl  22  ;  B  49  ;  W  54  ;  M  208  ;  Du  54.  —  V.  says  that 
the  plate  is  dated  1639,  which  is  a  mistake  ;  M.  assigns  it 
to  1639. 

Four  states  ;  three  shown. 

{a.)     ist  state,  shown  in  photogr.  From  Bl.^s  R. 

(b.)     2d  state.  Seivall  Coll. 

(e.)     3d  state,  Setvall  Coll, 


30  FIRST  PRINT  ROOM. 

Impression  b  is  cut  and  repaired  along  the  upper  margin.  Although 
the  plate  itself  is  not  dated,  there  is  a  reversed  copy  of  it  (not  described 
in  any  catalogue,  but  an  impression  in  the  Museum)  which  is  marked 
Rembrand  (no  f)  f,  1639. 

164.  The  Death  of  the  Virgin.  —  Bl  70;  B  99  ;  W 

104;    M  207  ;    Du  102.  —  Signed:    Rembrandt/.     Dated 
1639. 

Four  states  ;  3d  state  shown. 

{a.)     Showing  plate  marks  and  full  lower  margin. 

Edward  W.  Hooper, 
{Ik)     Without  these.  Sewall  Coll. 

The  impression  lent  by  Mr.  Hooper  is  shown  framed  on  top  of  the 
case  in  the  middle  of  the  room.  The  wrong  use  made  of  the  word 
"  state  "  is  well  illustrated  by  the  so-called  "  states  "  of  this  plate. 
Speaking  of  the  3d  state,  M.  says,  "  We  may,  no  doubt,  regard  this  as 
the  finished  plate,  the  ist  and  2d  states  being  trial  proofs."  The  so- 
called  3d  state  is,  therefore,  in  reality  the  ist  state. 

165.  Youth  Surprised  by  Death.  —  Bl  79  ;  B  109  ; 

W  1 13  ;  M  265  ;  Du  no.  —  Signed  :  Rembrandt  f.     Dated 
1639. 

One  state  only.  Sewall  Coll. 

166.  The  Receiver  Uytenbogaert.  (The  Gold- 
weigher.)  —  Bl  1S9  ;  B  281  ;  W  283  ;  M  138  ;  Du  271.  — 
Signed:  Rembrandt  ft.     Dated  1639. 

Three  states;  two  shown:  — 

{a.)     2d  state.  Sewall  Coll. 

{b.)     3d  state.  Sewall  Coll. 

Concerning  Mr.  Haden's  theories  about  this  plate,  viz.,  that  only  the 
head  and  shoulders  of  Uytenbogaert  are  by  R.,  the  rest  by  Bol,  see  his 
"  Monograph,"  p.  30. 

167.  Rembrandt  leaning  on  a  stone  sill.  —  Bl  234; 
B21;  W  21;  M  137;  Du  21.  — Signed:  Rembrandt f. 
Dated  1639. 

Two  states  ;  2d  state  shown.  Gray  Coll. 

168.  A  Jew  with  a  High  Cap.  — Bl  loi ;  B  133;  W 
.135 ;  M  1 40  ;  Du  1 32 .  —  Signed :  Rembrandt f.    Dated  1 639 . 

pjie  state  only .  Sewall  Coll. 


REMBRANDT'S  ETCHlkGS.  3 1 

i6g.     A  Physician  Feeling  the  Pulse  of  a  Patient. 

—  Bl  ii6  ;  B  155  ;  W  152  ;   M   143  ;  Du   151.  — Assigned 
to  1639  by  V.  and  by  M. 

One  state  only.     Shown  in  photogravure.  From  BiJs  R, 

Compare  with  the  physician  in  No.  164. 

170.     The  Decapitation  of  St.  John,  the  Baptist. 

—  Bl  40  ;  B  92  ;  W  97  ;  M  209  ;  Du  74.  —  Signed  :  I^em- 
brandtf.     Dated  1640. 

Two  states  ;  2d  state  shown.  Sewall  Coll. 

M.  describes  the  executioner  as  "bared  to  the  waist,"  which  is  a 
mistake.  In  the  ist  state  (reproduced  in  Dutuit's  book),  the  execu- 
tioner is  clothed,  as  in  the  state  here  shown. 


171.     The  Triumph  of  Mordecai. — Bl  12;  B  40; 

W  44  ;  M  228  ;  Du  48.  —  Assigned  to  about  1640  to  1645 
by  v.,  to  1 65 1  by  M. 

One  state  only.  Gray  Coll. 

According  to  Bl.,  there  is  a  2d  state,  retouched.  The  name,  Rem- 
brant  (without^),  on  the  impression  shown,  has  evidently  been  written 
upon  it.  As  portraits  of  the  artist  and  his  wife  are  so  eagerly  sought  out 
in  R.'s  etchings,  it  is  a  wonder  that  no  one  has  yet  pointed  out  the 
resemblance  to  them  which  may  be  detected  in  the  two  figures  on  the 
balcony  to  the  right,  supposed  to  represent  King  Ahasuerus  and  his 
queen  Esther. 


172.     The  Virgin  Mourning  the  Death  of  Jesus. 

—  Bl  59  ;  B  85  ;  W  90  ;  M  202  ;  Du  91.  —  Assigned  to 
1640  by  v.,  to  1636  by  M. 
One  state  only.     Shown  in  photogravure.  Fro77i  Bl.^s  R. 

Bl.  and  W.  describe  two  states.     Bl.,  although  he  retains  this  plate, 
is  inclined  to  attribute  it  to  Bol,  and  sees  Italian  influences  in  it. 


173.  The  Holy  Family.  (The  Virgin  with  the 
Basket  of  Linen.)  — Bl  33  ;  B  62  ;  W  66  ;  M  182  ;  Du 
65.  —  Monogram  RHL.  Assigned  to  1640  by  V,,  to  1632 
by  M. 

One  state  only.  Sewall  Coll. 


32  PlJRST  PRINT  ROOM. 

The  monogram  favors  the  earlier  year.  W.  and  Bl.  describe  two  states, 
and  M.'s  reasons  for  discarding  them  hardly  seem  satisfactory.  V.  says, 
"  This  piece  is  in  the  Italian  manner." 

174.  The  Crucifixion.  Small  oval  plate.  —  Bl  54; 
B  79  ;  W  85  ;  M  222  ;  Du  86.  —  Assigned  to  about  1640 
by  v.,  to  1648  by  M. 

Two  states  ;  2d  state  shown.  Sewall  Coll. 

175.  The  Sick  Woman.  (Saskia  Dying.)  —  Bl 
202;  B  359;  W  353;  M  150;  Du  347.  —  Assigned  to 
about  1640  by  V.,  to  1672  by  M. 

One  state  only.  Sewall  Coll. 

V.  does  not  share  the  opinion  of  Bl.  and  others,  that  this  is  a  portrait 
of  Saskia. 

176.  The  Skater.  —  Bl  121  ;  B  156  ;  W  153  ;  M  103 ; 
Du  152.  — Assigned  to  between  1636  and  1640  by  V.,  to 
1633  by  M. 

One  state  only.     Shown  in  photogravure.  From  Bl.^s  R. 

177.  A  Young  Woman  with  a  basket.  —  Bl  240;  B 
356  ;  W  350  ;  M  151  ;  Du  344.  —  Assigned  to  about  1640 
by  v.,  to  1642  by  M. 

Two  states;  ist  state  shown.  Sewall  Coll. 

178.  An  Old  Man  with  a  divided  fur  cap.  —  Bl  271  ; 
B  265  ;  W  267  ;  M  145  ;  Du  280.  —  Signed  :  Rembrandt f. 
Dated  1640. 

One  state  only.  Se^vall  Coll. 

179.  The  Bull.  — Bl  346;  B  253  ;  W  249;  M  289; 
Du  250.  —  Signed:  Rembrandt,  f.  164.  (last  figure  want- 
ing).    Date  read  1640  by  V, ;  assigned  to  1649  by  M. 

One  state  only.     Shown  in  photogravure.   FromBl.'s  R. 

180.  The  Canal.  —  Bl  322  ;  B  221  ;  W  218  ;  M  327  ; 
Du  218.  —  Assigned  to  about  1640  by  V.,  to  1652  by  M. 

One  state  only.  Sewall  Coll. 


hembrandT^s  etchings.  ^5 

i8i.     The   Adoration  of  the   Shepherds.     Night 
effect.  —  Bl  19  ;  B  46;  W  51 ;  M  230  ;  Du  51.  —  Assigned 
to  between  1632  and  1640  by  V.,  to  1652  by  M. 
Six  states  ;  two  shown  :  — 

(rt-.)     2d  state (?).  Seivall  Coll. 

(/;.)     6th  state  (?).  Scwall  CoU. 

Both  M.  and  Bl.  describe  six  states,  but  their  descriptions  are  at 
variance  with  one  another,  and  do  not  agree  with  the  prints  them- 
selves. The  trouble  probably  arises  from  the  description  of  trial  proofs 
as  states,  and  from  variations  in  printing.  Very  likely,  impression  a  is 
the  1st  state,  and  earlier  impressions  are  only  trial  proofs. 


182.  The  Flight  into  Egypt.  —  Bl  27  ;  B  54 ;  W  59  ; 
M  181  ;  Du  59, — Assigned  to  between  1632  and  1640  by 
V,,  to  1630  by  M. 

Six  states  ;  two  shown  :  — 
(«.)     I  St  state  shown  in  photogr.  From  Bl.^s  R. 

(/k)     5th  state.  Sewall  Coll. 

183.  The  Repose  in  Egypt.  Night  effect.  —  Bl  30  ; 
B  57  ;  W  62  ;  M  221  ;  Du  62.  —  Assigned  to  between 
1632  and  1640  by  V.,  to  1647  ^y  M* 

Three  states  ;  3d  state  shown.  Sewall  Coll. 

184.  Sketches,  including  those  of  two  sick  women  in 
bed.  —  Bl  122;  B  369;  W  363;  M  144;  Du  357.— 
Assigned  to  between  1635  and  1640  by  V.,  to  1639  ^7  ^* 

One  state  only  :  — 

(rt!.)     Original  impression.  Sewall  Coll. 

(^.)     Photogravure  reproduction.  From  Bl.^s  R. 

The  original  and  fac-simile  are  both  shown  to  enable  visitors  to  see 
all  the  sketches  in  an  upright  position. 


185.  A  Beggar,  front  view,  standing  and  leaning 
upon  a  stick.  —  Bl  125;  B  162;  W  159;  M  33  ;  Du  158. 
—  Assigned  to  between  1635  ^"^  \(i\o  by  V.,  to  1630  by 
M. 

Two  states :  2d  state  shown.  Sewall  Coll. 


J4  FIUST  PRINT  ROOM. 

i86.  A  Beggar,  in  profile,  standing  and  leaning  on  a 
stick.  —  Bl  126;  B  163;  W  160;  M  141;  Du  159.  —  As- 
signed to  between  1632  and  1640  by  V.,  to  1639  ^y  M. 

One  state  only.  Sewall  Coll. 


187.  A  Beggar,  with  his  wife  and  child.  —  Bl  127; 
B  161  ;  W  158;  M  142;  Du  157.  —  Assigned  to  between 
1632  and  1640  by  V.,  to  1639  ^y  M. 

One  state  only.     Shown  in  photogravure.  From  Bl.'s  R. 


188.     A  Ragged  Peasant,  with  his  hands  behind  him. 
—  Bl  137  ;  B  172;  W  169;  M  121;  Du  168.  —  Assigned 
to  between  1632  and  1640  by  V.,  to  1635  '^y  '^• 
Three  states  ;  3d  state  shown :  — 

(a.)     Original  impression.  Sewall  Coll. 

(^.)     Photogravure  reproduction.  From  Bl.^s  R. 

The  two  impressions  have  been  hung  to  show  the  curious  difference 
in  the  lines  to  the  right  of  the  figure,  which  may  possibly  be  due  to 
intentional  suppression  in  the  printing.  A  comparison  of  these  impres- 
sions with  Fig.  6,  on  Plate  I,  of  M.'s  catalogue,  will  show  the  unwar- 
rantable carelessness  with  which  many  of  the  figures  in  this  l)ook  have 
been  drawn,  making  them  a  stumbling-block  rather  than  a  help  to  the 
collector. 


189.  A  Beggar,  with  a  wooden  leg.  —  Bl  142;  B  179; 
W  176;  M  35;  Du  175.  —  Assigned  to  between  1632  and 
1640  by  v.,  to  1630  by  M. 

Two  states;  2d  state  shown.  Sewall  Coll. 


190.     An  Old  Man  lifting  his  hand  to  his  cap. —  Bl 
268;  B   259;   W    260;   M    139;   W   275.  —  Assigned   to 
between  1632  and  1640  by  V.,  to  1639  %  ^• 
Two  states :  — 

(a.)    I  St  state.  Sewall  Coll. 

{b.)     2d  state.  Sewall  Coll. 

M.  allows  one  state  only.  Impression  a  is  from  the  plate  as  left  liy 
R.;  />  is  from  the  same  plate  as  finished  l)y  G.  F.  Schmidt  towards  the 
end  of  last  century. 


REMBRANDT'S   ETCHINGS.  35 

igi.  An  Orchard  with  a  Barn.  —  BI330;  B  230; 
W  227  ;  M  316  ;  Du  227.  —  Assigned  to  between  1632  and 
1640  by  v.,  to  1648  by  M. 

Two  states  ;   ist  state  shown  in  photogr.    From  B/.'s  R. 

192.  Landscape  with  a  cow  drinking.  —  Bl  337  ;  B 
237;  W  234;  M  318;  Du  234.  —  Assigned  to  between 
1632  and  1640  by^V.,  to  1649  by  M. 

Four  states  (?)  j  3d  state  shown.  Sewall  Coll. 

The  cataloguers  disagree  sadly  in  their  descriptions  of  the  states  of 
this  plate.  M.  allows  only  two.  In  the  ist  the  ground  in  the  lower 
right  corner  is  only  partially  shaded,  in  the  2d  there  is  more  shading, 
but  still  the  extreme  lower  right  corner  is  blank.  M.  admits  that  there 
are  other  variations,  but  he  says,  "  The  latest  impressions  are  so  bad 
that  I  think  it  is  not  worth  our  while  to  describe  them."  Nevertheless, 
both  Bl.  and  Du.  reproduce  the  state  of  the  plate  shown  in  this 
exhibition,  which  is  certainly  later  than  M.'s  2d  state,  and  there  is  a 
still  later  state  which  is  not  quite  so  bad  as  to  make  it  unworthy  of 
being  looked  at.  There  would  seem  to  be,  therefore,  at  least  four 
states,  viz-.,  ist  and  2d  as  described  by  M.  (for  distinctive  marks,  see 
his  Plate  XI,  Fig.  57);  3d  as  here  shown;  4th  in  which  the  gable  end 
of  the  building  has  been  worked  over,  new  dry-point  work  is  observa- 
ble in  the  trees,  and  attempts  have  been  made  to  strengthen  the  rocks 
to  the  left. 

193.  The  Coach  Landscape.  —  B2i5;W2i2;  Du 

212. —  Assigned  to  between  1632  and  1640  by  V..;  rejected 
by  M.  and  Bl. 

One  state  (?).  Not  procurable. 

A  photogravure  reproduction  is  given  by  Dutuit,  who,  however,  also 
considers  the  piece  doubtful. 

194.  An  Old  Man  in  a  high  cap,  asleep.  —  Bl  286; 
B  290  ;  W  292;  M  126;  Du  287.  —  Signed:  Rembrandt. 
Assigned  to  between  1632  and  1640  by  V.,  to  1635  by  M. 

One  state  only.  Sewall  Coll. 

"  Somewhat  doubtful,"  according  to  M. 

195.  Landscape,  with  an  obelisk.  —  Bl  328;  B  227; 
W  224;  M  324;  Du  224.  —  Assigned  to  between  1632  and 
1640  by  v.,  to  1650  by  M. 

Two  states ;  2d  state  shown.  Sewall  Coll. 


36  FIRST  PRINT  ROOM. 

196.  Jacob    and    Laban.     (Three  Oriental  Figures.) 

—  BI7;    B118;   W122;    M212;    Du  119,  —  Signed,  re- 
versed :  Reitibrandt.  f.     Dated  1641. 

Two  states;  2d  state  shown.  Scivall  Coll. 

197.  The  Angel  Ascending  from  Tobit  and  his 
Family.  — Bl  16;  B  43  ;  W  48;  M  213  ;  Du  46.  —  Signed  : 
Rembratidt  f.     Dated  1641. 

Two  states ;  both  shown  :  — 

(at.)     I  St  state.  Sewall  Coll. 

Ip.)     2d  state.  Sewall  Coll. 

198.  The  Virgin  and  Child  on  Clouds.— Bl  32; 
B  61;  W65  ;  M  211;   Du  64. 

One  state  only.  Gray  Coll. 

199.  The  Baptism  of  the  Eunuch. —  Bl  69  ;  B  98  ; 

W  103  ;  M  210  ;  Du  loi.  —  Signed  :  Rembrandt,  f.    Dated 
1641. 
Two  states  ;  2d  state  shown.  Sewall  Coll. 

200.  The  Schoolmaster.  (The  Hurdy-Gurdy  Player.) 

—  BI99;    B128;    W131;    M271;    Du  128.— Signed: 
Rembrandt  f.     Dated  1641. 

One  state  only.  Sewall  Coll. 

201.  The  Star  of  the  Kings.  —  Bl  85;  B  113;  W 
117  ;  M  293  ;  Du  114.  —  Assigned  to  1641  by  V.,  to  1652 
by  M. 

One  state  only.  Sewall  Coll. 

202.  The  Large  Lion  Hunt. —  Bl  86;  B  114;  W 
118;  M  272;  Du  115.  —  Signed:  Rembrandt/.  Dated 
1641. 

One  state  only.  Sewall  Coll. 

203.  The  Small  Lion  Hunt,  with  a  lioness.  —  Bl 
87  ;  B  115  ;  W  119;  M  273  ;  Du  116.  —  Assigned  to  1641 
by  V.  and  by  M. 

Two  states ;  2d  state  shown.  Sewall  Coll. 


HEMSRAnDT^S  ETCfllNGS.  ^"^ 

204.  Another  Lion  Hunt.     Companion  to  No.  203. 

—  Bl  88  ;  B  116;  W  120  ;  M  274  ;  Du  117.  —  Assigned  to 
1 641  by  V.  and  by  M. 

One  state  only.  Sewall  Coll. 

The  three  "  Lion  Hunts,"  Nos.  202,  203,  and  204,  as  well  as  No. 
205,  are  generally  described  as  "  in  the  manner  of  Rubens." 

205.  Battlepiece.  —  Bl  89  ;  B  117  ;  W  121 ;  M  275  ; 
Du  118.  —  Assigned  to  1641  by  V.  and  by  M. 

Three  states ;  2d  state  shown.  Sewall  Coll. 

206.  Cornelis  Claesz.  Anslo.  —  Bl  170;  B  271  ;  W 
273;  M  146;  Du  254.  —  Signed:  Retnbrandt f.  Dated 
1641. 

Four  states  ;  two  shown  :  — 

(«.)     3d  state.  Sewall  Coll. 

{b.)    4th  state.  Sewall  Coll. 

207.  Portrait  of  a  Boy.  —  Bl  177;  B310;  W  311  ; 
M  148;  Du  306.  —  Signed:  Rembraiidt. f.     Dated  1641. 

One  state  only.  Sewall  Coll. 

Called  also,  erroneously,  according  to  V.,  "  Portrait  of  William  II." 

208.  A  Man  with  Crucifix  and  Chain.  (The  Writer.) 

—  Bl  257;  B  261;  W  263;  M  147;  Du  277.  —  Signed: 
Retnbra7idt  f.     Dated  1641. 

Four  states ;  2d  state  shown.  Sewall  Coll. 


209.     A  Man  Playing  Cards.  —  Bl  104;  B  136;  W 

137  ;  M    269  ;  Du  135.  —  Signed  :  Rembrandt  f.     Dated 
1641. 

Three  states :  — 

(«.)     ist  state.  Sewall  Coll. 

{b.)     2d  state.  Sewall  Coll. 

(e.)     3d  state.  Sewall  Coll. 

Impression  i  is  partly  washed  with  India  ink. 


38  FIRS7  PRINT  ROOM. 

210.  View  of  Amsterdam.  —  Bl  313;  B  210;  W 
207  ;  M  304  ;  Du  207. —  Assigned  to  1641  by  V.,  to  1640 
by  M. 

One  state  only.  Sewall  Coll. 

About  one  quarter  of  an  inch  has  been  cut  off  on  the  left  side  of 
the  impression  shown. 

211.  Landscape  with  a  cottage  and  a  hay-barn.  —  BI 
327;  B  225;  W  222  ;  M  306;  Du  222. — Signed:  Rem- 
brandt f.     Dated  1641. 

One  state  only.  Gray  Coll, 

212.  Landscape  with  a  mill  sail. — Bl  326;  B  226  ; 
W  223  ;  M  307  ;  Du  223.  —  Signed  :  Rembrandt/.  Dated 
1641. 

One  state  only,  Sewall  Coll. 

213.  The  Mill.  (Rembrandt's  Mill.) —Bl  333  ;  B 
233  ;  W  230  ;  M  305  ;  Du  230.  —  Signed  :  Rembrandt  f. 
Dated  1641. 

One  state  only.  Sewall  Coll. 

214.  The  Resurrection  of  Lazarus.  (Small  plate.) 
—  Bl  47  ;  B  72  ;  W  76  ;  M  215  ;  Du  78.  —  Signed  :  Rem- 
brandt/.    Dated  1642. 

One  state  only.  Sewall  Coll. 

There  exists  a  reversed  copy  not  described  by  M. 

215.  The  Descent  from  the  Cross.  A  sketch.  — 
Bl  57  ;  B  82;  W  87;  M  216;  Du  89.  —  Signed :  Rem- 
brandt/.    Dated  1642. 

One  state  only.  Sewall  Coll. 

216.  St.  Jerome,  writing  near  a  large  tree.  —  Bl  74  ; 
B  103  ;  W  108  ;  M  223  ;  Du  106.  —  Signed  in  2d  state  : 
Rembrandt/.     13ated  1642  Q.)  or  1648  Q). 

Two  states  ;  2d  state  shown.  Sewall  Coll. 


REMBRANDT'S   ETCHINGS.  39 

V.  specially  says  that  the  date  is  1642,  and  not  1648.  M.  neverthe- 
less reads  the  latter  date,  and,  on  the  evidence  of  the  impression  shown, 
he  is  certainly  right.  He  thinks,  however,  that  the  etched  work  in  this 
plate  is  earlier  than  the  dry  pointing  (which  includes  the  date),  and 
bears  a  resemblance  to  the  work  of  1642. 


217.  St.  Jerome,  in  meditation.  —  BI  76;  B  105; 
W  no;  M  214;  Du  108.  —  Signed  :  Rembrandt/.  Dated 
1642. 

Two  states  ;  2d  state  shown.  Sewall  Coll. 

218.  The  Spanish  Gipsy.  —  Bl  83  ;  B  120  ;  W  124  ; 

M    285;    Du    121.  —  Assigned  to    1642    by  V.,    to    1647 
by  M. 

One  state  only.     Shown  in  photogravure.  From  Bl.'s  R. 

219.  The  Flute  Player.  —  Bl  153  ;  B  188  ;  W  185  ; 

M    268;  Du    185.  —  Signed  in    2d   state:    Rembrandt/. 
Dated  1642. 

Four  states  ;  two  shown  :  — 

{a.)     ist  state.     Shown  in    photogr.     From  Bl.'s  R. 
{p.)     4th  state.  Sewall  Coll. 

M.  reads  1640,  but  the  date  is  clearly  1642,  with  the  2  reversed. 

220.  The    Monk  in   the    Cornfield.  —  Bl   152;   B 

187  ;  W  184  ;  M  282  ;  Du  184.  —  Assigned  to  1642  by  V., 
to  1646  by  M. 

One  state  only.  Not  shown. 

221.  The  Shepherds  in  the  Wood.  (The  Old  Man 
Asleep.)  — Bl  154;  B  189;  W  186;  M  281;  Du  18.6.— 
Assigned  to  1642  by  V.,  to  1646  by  M. 

One  state  only.  Not  shown. 

222.  A  Man  in  an  Arbor.  —  Bl  262  ;  B  257  ;  W  258  ; 
M  152;  Du  273. —  Signed:  Rembrandt/     Dated  1642. 

One  state  only.  Gray  ColL 


40  FIRST  PRINT  ROOM. 

ii-if.  Sketches  of  a  tree,  etc.  —  Bl  349;  B  372  ;  W 
366;  M  154;  Du  360.  —  Assigned  to  1643  by  V.  for  the 
whole,  by  M.  for  the  tree. 

One  state  only.  Sewall  Coll. 

224.  The  Hog.  — Bl  350;  B  157;  W  154;  M  277; 
Du  153.  —  Signed:  Rembrandt f.     Dated  1643. 

Two  states;  ist  state  shown.  Seivall  Coll. 

11^.     The  Three  Trees.  — Bl  315  ;  B212;  W  209  ; 

M  309;  Du  209.  —  Signed:  Rembrandt.  Dated  1643. 
One  state  only. 

(a.)     Impression  from  plate.  Seivall  Coll. 

(b.)     Counterproof .  Sewall  Coll. 

226.     The  Shepherd  and  his  Family.  —  Bl  321  ;  B 

220;    W217;    M310;    Du  217.  —  Signed:  Rembrandt  f. 
Dated  1644. 
One  state  only.  Sewall  Coll. 

ivj.  Abraham  Speaking  to  Isaac. —  Bl  5  ;  B34; 
W  38  ;  M  220;  Du  39.  —  Signed:  Rembrant  (no  d). 
Dated  1645. 

One  state  only.  Sewall  Coll. 

228.  The  Repose  in  Egypt.  —  Bl  31  ;  B  58  ;  W  63  ; 
M  218  ;  Du  63.  —  Rembrandt,  f.     Dated  1645. 

One  state  only.  Sewall  Coll. 

229.  St.  Peter.  —  Bl  67  ;  B  96;  W  loi ;  M  219  ;  Du 
99.  —  Signed:  Rembrandt f.  1645. 

One  state  only.  Sewall  Coll. 

V.  is  particular  to  state  that  the  date  on  this  plate  is  1655,  and  not 
1645.'  On  the  impression  shown,  however,  as  well  as  on  the  reproduc- 
tions given  by  Bl.  and  Du.,  the  date  is  very  clearly  1645. 

230.  An  Old  Man,  meditating.  —  Bl  in  ;  B  147; 
W  145;  M  156;  Du  143.  —  Assigned  to  1645  by  V.,  to 
1646  by  M. 

Two  states  ;  2d  state  shown  in  photogr,    F-^om  Bl's  R, 


REMBRANDT'S    ETCHINGS.  4 1 

231.  Jan  Cornells  Sylvius.  —  Bl  187;  B  280;  W 
282;  M  155;  Du  269.  —  Signed:  Rembrandt.  Dated 
1646. 

Two  states  ;  2d  state  shown.  Sewall  Coll. 

232.  Rembrandt,  drawing  on  a  plate.  —  BI  228  ;  W 
32;  M  173;  Du  32. — Signed:  Rembrandt  f.  Dated 
1645  (or  1658?). 

One  state  only.   Shown  in  photogravure.    From  Bl.^s  R. 

The  reproduction  shown  is  not  from  the  original,  of  which  only  one 
or  two  copies  are  known,  but  from  a  copy  l)y  Basan.  On  this  copy 
the  date  is  plainly  1645.  ^-  '^^^  Du.  claim,  however,  that  the  original 
is  dated  1658.  "Doubtful,"  says  V.,  "  I  do  not  believe  it  is  by  R." 
How  this  hideous  and  ill-drawn  portrait  came  to  be  admitted  among 
R.'s  work  at  all,  it  would  be  difficult  to  say.  Still,  all  the  catalogues, 
except  B.,  admit  it,  although  they  cannot  even  agree  upon  the  meaning 
of  the  head  covering  worn  by  the  man,  one  (W.)  declaring  it  to  be  "  a 
cap,  the  end  of  which  comes  down  on  the  right  ";  a  second  (Bl.)  "  un 
bonnet  de  coton,  dont  la  m^che  penche  sur  le  cote  droit "  (say  a  cotton 
nightcap);  a  third  (M.)  "a  soft  cap  with  a  feather  passing  across  the 
front,"  while  the  fourth  (Du.),  more  guarded  than  his  brethren,  contents 
himself  by  describing  it  as  "  une  espece  de  bonnet."  If  Basan  has 
copied  the  signature  with  only  approximate  correctness,  that  alone  ought 
to  condemn  the  plate. 

233.  Six's  Bridge.  —  Bl  311;  B  208;  W  205;  M 
313  ;  Du  205.  —  Signed  :  Rembrandt/.     Dated  1645. 

Three  states  ;  3d  state  shown.  Sewall  Coll. 

234.  View  of  Omval.  —  Bl  312  ;  B  209  ;  W  206  ;  M 
31 1  ;  Du  206.  —  Signed  :  Rembrant  (no  d^.     Dated  1645. 

One  state  only. 

(rt;.)     Impression  from  the  plate  in  its  original  con- 
dition. Sewall  Coll. 
(b.)     Impression  from  the  disfigured  plate. 

Sewall  Coll. 

Impression  d  is  the  one  described  by  M.  from  the  collection  of  the 
Rev.  Burleigh  James.  Mr.  Haden  says  that  "  Omval  is  not  a  village, 
but  a  bend  in  the  river  Amstel,  near  Amsterdam,"  and  that,  therefore, 
the  plate  ought  to  be  called  "  The  Omval."  V.,  on  the  contrary,  him- 
self a  Hollander,  speaks  of  the  subject  quite  explicitly  as  "  the  view 
of  Omval,  a  village  in  the  environ?  of  Amsterdain." 


42  FIRST  PRINT  ROOM. 

235.  Landscape,  with  a  man  sketching.  —  Bl  320  ; 
B219;  W216;  M315;  Du2i6.  —  Assigned  to  1645  ^Y 
v.,  to  1646  by  M. 

One  state  only.  Sewall  Coll. 

236.  The  Cottages  near  the  Canal.  (The  Sail 
Boat.)  —  Bl  329;  B228;  W  225;  M  314;  Du  225. — 
Assigned  to  1645  by  V.  and  by  M. 

Two  states  ;  ist  state  shown.  Scivall  Coll. 

V.  thinks  this  may  be  a  view  of  Hillegom,  the  home  of  the  Six  family. 


237.  The  Boat  under  the  Trees,  (A  Grotto  with 
a  Brook.  The  Boathouse.)  —  Bl  331  ;  B  231  ;  W  228  ;  M 
312  ;  Du  228.  —  Signed  :  Rembrandt.     Dated  1645. 

One  state  only.     (Late  impression  shown.)    Sewall  Coll. 


238.  Study  of  a  youth  seated.  (Study  for  the  Prodi- 
gal Son.)  —  Bl  158  ;  B  193  ;  W  190  ;  M  279  ;  Du  190.  — 
Signed  :  Rembrandt,  f.     Dated  1646. 

One  state  only.  Sewall  Coll, 

239.  Study  of  a  youth  seated  on  the  ground.  —  Bl 
160;  B  196;  W  193;  M  278;  Du  193.  —  Signed:  Revi- 
brandt.  f.     Dated  1646. 

One  state  only.  Sewall  Coll. 


240.  Studies  of  two  boys;  a  go-cart,  etc.,  in  the  back- 
ground.—  Bl  159;  B  194;  W  191;  M  280;  Du  191. — 
Assigned  to  1646  by  V.  and  by  M. 

Two  states  ;  2d  state  shown.  Sewall  Coll. 

M.  claims  that  in  the  background  we  have  a  sketch  "  executed  at  a 
much  earlier  time,  and  which  was  entirely  overlooked  when  R.  worked 
these  studies  upon  the  plate,"  all  of  which  is  contradicted  by  the  com- 
position of  the  plate  and  the  way  in  which  the  cavity  of  the  fireplace, 
instead  of  being  "  entirely  overlooked,"  is  made  to  serve  a  purpose  in 
throwing  the  standing  figure  into  relief. 


REMBRANDT'S   ETCHINGS.  43 

241.  A  Beggar  Woman.  —  BI  134;  B  170;  W  167; 
M  157  ;  Du  166.  —  Signed:  Rembrandt,  f.     Dated  1646. 

One  state  only.  Sewall  Coll. 

242.  De  Ledekant.  —  Bl  151  ;  B  186;  W  183;  M 
283  ;  Du  183.  —  Signed  :  Kcmbrandt  f.     Dated  1646. 

Three  states.  N'ot  shoiun. 

243.  Portrait  of  Jan  Six.  —  Bl  184 ;  B  285  ;  W  287  ; 
M  159 J  Du  267.  —  Signed:  Rembrandt./.     Dated  1647. 

Three  states;  two  shown  :  — 

(rt.)     2d  state.  Gray  Coll. 

{b.)     3d  state.  Sewall  Coll. 

244.  Portrait  of  Dr.  Ephraim  Bonus.  (The  Jew 
at  the  Baluster.)  —  Bl  172;  B  278;  \V280;  M  158;  Du 
256.      Signed:  Rembrandt./.     Dated  1647. 

Two  states  ;  2d  state  shown.  Gray  Coll. 

245.  Portrait  of  Jan  Asselyn. — Bl  171;  B  277  ; 
W  279;  M  161  ;  Du  255.  —  Signature  and  date  incom- 
plete.    Assigned  to  1647  by  V.,  to  1648  by  M. 

Three  states ;  two  shown  :  — 

{a.)     ist  state  in  photogravure.  From  Bl.'s  R. 

{b.)     3d  state.  Gray  Coll. 

Bl.  describes  four  and  speaks  of  a  5th  state. 

246.  Portrait  of  Dr.  Jan  Antonides  Van  der  Lin- 
den. —  Bl  181  ;  B  264;  W  266  ;  M  167  ;  Du  264. —  As- 
signed to  between  1647  ^"*^  ^^S^  by  V.,  to  1653  by  M. 

Six  states ;  state  shown  ?  Sewall  Coll. 

It  is  difficult  to  make  out  the  states  of  this  plate  from  the  descriptions. 
The  impression  shown  would  appear  to  be  between  M.'s  3d  and 
4th  states. 

247.  The  Synagogue.  —  Bl  98  ;  B  126;  W  130;  M 
288  ;  Du  127.  —  Signed  :  Rembrandt./     Dated  1648. 

Three  states;  2d  (?)  state  shown.  SeivallColl. 


44  FIRST  PRINT  ROOM. 

248,     Medea.     (The  Marriage  of  Jason  and  Creusa.) 
—  BI82;  B112;  W116;  M  286;  Du  113.  — Signed  and 
dated  in  4th  state:  Rembrandt./.   1648. 
Five  states ;  four  shown  :  — 

(d!.)      I  St  state.  Gray  Coll. 

\b^     3d  state.  Scwall  Coll. 

(^.)     4th  state.  Sewall  Coll. 

(//.)     5th  state.  Sewall  Coll. 

M.  describes  Medea,  who  is  seen  advancing  in  the  lower  right  cor- 
ner, as  "  holding  a  handkerchief  to  her  face,  as  if  weeping."  The  im- 
pressions shown  demonstrate  that  this  description  is  not  correct. 


249.  The  Phoenix.  (The  Allegorical  Tomb.)  —  Bl 
80;  Bug;  W  114;  M  296;  Du  iii — Signed:  Rcm- 
/^r^/z^/y;  (apparently  no/).  Date  read  1648  by  V.,  1658 
by  M  ,  still  differently  by  others. 

One  state  only.     Shown  in  photogravure.    From  Bl.^s  R. 


250.  Beggars  at  the  Door  of  a  House.  —  Bl  146; 
B  176;  W  173;  M  287;  Du  172.  —  Signed:  Rembrandt . f. 
Dated  1648. 

Two  states  ;  2d  state  shown  :  — 

(«.)     Printed  in  black.  Sewall  Coll. 

(/'.)     Printed  in  red.  Gray  Coll. 

251.  Doctor  Faustus.  —  Bl  84  ;  B  270  ;  W  272  ;  M 
291;  Du  259.  —  Assigned  to  between  1647  and  1650  by 
v.,  to  1651  by  M. 

Three  stales :  — 

(a.)      I  St  state.  Savall  Coll. 

{b.^     2d  state.  Savall  Coll. 

{c.)     3d  state.  Gray  Coll. 


252.  An  Artist  (R.?)  Drawing  from  a  Model.  — 
Bl  157;  B  192;  W  189;  M  284;  Du  189.  —  Assigned  to 
between  1646  and  1648  by  V.,  to  1647  by  M, 

Two  states  ;  2d  state  shown.  Scwall  Coll. 


REMBRANDT'S  ETCHINGS.  45 

M.  thinks  that  the  work  on  the  ist  state  of  this  abandoned  plate  is 
by  R.,  and  that  possibly  the  additional  work  in  the  2d  state  is  by  an 
assistant.  Mr.  Iladen  opines  ("  Monograph,"  p.  31)  that  R.  only  laid 
in  the  subject,  as  shown  in  the  unfinished  part,  and  that  Bol  was 
charged  with  finishing  it.  In  accordance  with  his  theory,  that  R.  ceased 
to  avail  himself  of  pupil  work  in  his  etchings  about  1639,  he  assigns 
this  plate  to  an  earlier  period  than  either  V.  or  M. 


253.  Rembrandt,  drawing  at  a  window.  —  Bl  235  ; 
B  22  ;  W  22  ;  M  160;  Du  22.  —  Signed  :  Renibramit  f. 
Dated  1648. 

Seven  states  ;  two  shown  :  — 

(flt.)     2d  state.     Shown  in  photogr.         From  BL's  jR. 
(^.)     6th  state.  Sewall  Coll. 

M.'s  description  of  the  states  of  this  plate  is  most  unsatisfactory.  Bl. 
describes  ten  states,  of  which  the  examples  shown  seem  to  be  respec- 
tively the  6th  and  9th.  M.  thinks  that  the  variations  after  his  3d  state 
are  not  by  R. 


254.  Two  Beggars,  a  man  and  a  woman.  —  Bl  145  ; 
B  183;  W  180;  M  13;  Du  179.  —  Assigned  to  about 
1648  by  v.;  to  1629  by  M. 

One'^tate  only.    Shown  in  photogravure    From  BL's  R. 


255.  Sketches  of  Two  Beggars.  —  Bl  147  ;  B  182  ; 

W  179  ;  M  II  ;  Du  178.  —  Assigned  to  about  1648  by  V., 
to  1629  by  M. 

One  state  only.     Shown  in  photogravure.   From  Bl.^s  R. 

256.  A  Sick  Beggar  and  his  Wife.  —  Bl  148;  B 
185;  W  182;  Du  181. — Assigned  to  about  1648  by  V., 
rejected  by  M. 

One  state  only.    Shown  in  photogravure.    From  Bl.'s  R. 

257.  The  Fat  Beggar.  —  Bl  149;  B  184;  W  181  ; 
M9;  Du  180.  —  Assigned  to  about  1648  by  V.,  to  1629 
by  M. 

One  state  only.    Shown  in  photogravure.     From  BL's  R. 


46  FIRST  PRINT  ROOM. 

258.  A  Beggar,  in  a  cloak,  standing,  a  woman  in  the 
distance.  —  Bl  150;  M  8  ;  Du  182.  —  Assigned  to  about 
1648  by  v.,  to  1629  by  M. 

One  state  only.    Shown  in  photogravure.  From  Bl.»s  R. 

259.  St.  Jerome,  reading.  —  Bl  75;  B  104;  W  109; 
M  234;  Du  107.  —  Assigned  to  1650  by  V.,  to  1653  by  M. 

Two  states  ;  2d  state  shown  :  — 

(«.)     Early  impression  on  dark  paper.      Sewall  Coll. 

(/5.)     Somewhat  later  impression    washed  here    and 

and  there  with  India  ink.  Gray  Coll. 

This  piece  is  usually  said  to  be  "  in  the  manner  of  Diirer."  Mr. 
Haden  affirms  that  it  is  from  a  drawing  by  Titian,  "  differing  in  nothing 
from  the  etching  except  in  the  absence  of  the  lion,  and  the  presence  of 
a  recumbent  figure  of  Venus  in  place  of  the  saint."  V.  has  it  that  "  the 
landscape  is  quite  in  the  style  of  the  view  of  Ransdorp,  Bl.  319  [No.  264 
of  this  catalogue],  of  which  we  here  see  also  the  tower." 

260.  Jesus  Appearing  to  His  Disciples.  —  Bl  64; 
B  89;  VV  94;  M  225;  Du  96.  —  Signed  Rembrandt,  f. 
Dated  1650. 

One  state  only.  Sewall  Coll. 

261.  The  Shell.  —  Bl  353  ;  B  159  ;  W  156  ;  M  290 ; 
Du  155. —  Signed:  Rembrandt./.     Dated  1650. 

Two  states ;  2d  state  shown.  Sewall  Coll. 


262.     A  Young  Man,  with  a  game  pouch.  — Bl  253  ; 
B  258  ;  W  259  ;  Du  274.  —  Dated  1650. 

One  state  only.     Shown  in  photogr.  From  Bl.^s  R. 

Rejected  by  M.,  and  generally  doubted  by  the  other  cataloguers.    The 
date  upon  the  plate  certainly  is  not  by  R. 


263.  The  Three  Cottages.  — Bl  318;  B  217;  W 
214;  M  325;  Du  214.  —  Signed:  Rembrandt/.  Dated 
1650. 

Three  slates ;  2d  state.  Gray  Coll, 


REMBRANDT'S   ETCHINGS.  47 

264.  Landscape,  with  a  square  tower.  —  BI  319  ;  B 
218  ;  W  215  ;  M  321  ;  Du  215.  —  Signed  :  RembraJidt.  f. 
Dated  1650. 

Four  states  ;  4th  state  shown.  Gray  Coll. 

According  to  V.,  this  is  a  view  in  Ransdorp.     See  No.  259. 


265.  The  Canal  with  the  Swans. — Bl  335;  B 
235  ;  W  232;  M  322;  Du  232.  —  Signed:  Rembrandt  f. 
Dated  1650. 

Two  states ;  2d  state  shown.  Sewall  Coll. 


266.     Landscape,  with  a  large  boat.  —  Bl  336  ;  B  236; 

W  233;  M  323  ;  Du  233. —  Signed:  Rembrandt./.     1650. 

Two  states ;  2d  state  shown.  Sewall  Coll. 

Nos.  265  and  266,  as  the  exhibition  shows,  form  in  reality  the  two 
halves  of  a  little  panorama. 


267.  The  Hunter.  —  BI314;  B  211  ;  W  208;  M  329; 
Du  208.  —  Assigned  to  1650  by  V.,  to  1653  by  M. 

Two  states  ;  2d  state  shown.  Sewall  Coll. 

Mr.  Haden  is  of  opinion  that  the  motive  for  the  background  in 
this  plate,  as  in  several  other  plates,  was  appropriated  by  R.  from  some 
design  by  Titian  or  Campagnola. 


268.  Landscape,  with  a  ruined  tower.  —  Bl  324 ;  B 
223  ;  W  220  ;  M  317  ;  Du  220.  —  Assigned  to  1650  by  V., 
to  1648  by  M. 

Four  states;  ist  state  shown.  Sewall  Coll, 

According  to  V.,  this  is  a  view  of  the  village  of  Loenen.  In  later 
and  more  frequent  states,  the  tower  appears  in  a  ruined  condition, 
hence  the  name  of  the  piece.  The  impression  shown,  it  will  be  ob- 
served, has  been  cut  on  the  right  side,  and  then  joined  together  again, 
but  the  pieces  seem  to  be  printed  on  paper  of  different  quality.  Curi- 
ously enough,  the  impression  from  which  Bl.'s  reproduction  was  made 
has  evidently  been  cut  and  joined  together  again  in  precisely  the  same 
place. 


48  FIRST  PRINT  ROOM. 

269.     Christ   Healing  the    Sick.      (The    Hundred 
Guilders   Piece.)  —  Bl  49  ;    B  74;  W  78  ;    M  224  ;  Du  77. 
—  Assigned  to  about  1650  by  V.,  to  1649  ^1  ^* 
Two  states  ;  2d  state  shown  :  — 

(a.)     Impression  slightly  washed  with  India  ink. 

Sewall  Coll. 
(d.)     Later  impression  ?  Gray  Coll. 

(c.)     Very  late  impression,  from  the  rusted  plate. 

Gray  Coll. 

According  to  Mr.  Haden  ("  Monograph,"  p.  35),  fine  impressions 
from  this  celebrated  plate  in  the  2d  state  are  preferable  to  those  in  the 
1st  state.  There  is  a  remarkable  difference  in  the  measurements  given 
of  this  plate.  All  measurements  of  prints  must  necessarily  be  approxi- 
mate only,  as  the  stretching  of  the  dampened  paper  and  its  shrinkage 
upon  drying  are  beyond  control  or  calculation.  Differences  of  one  cen- 
timetre, however,  seem  unexplainable.  The  true  approximate  measure- 
ments, based  upon  the  four  impressions  here  shown,  are :  -  .395  at  the 
bottom;  -.397  at  the  top;  -  .277  at  the  right;  -.281  at  the  left. 
Only  Bartsch  and  Claussin,  and  Dutuit,  give  measurements  corresponding 
to  these,  viz.,  the  two  former  (ignoring  the  difference  between  top  and 
bottom  and  right  and  left)  14  p.,  81.  in  breadth,  lO  p.  5  1.  in  height; 
the  latter  -  .396  by  281.  W.  gives  15.20  inches  at  bottom,  15.30  at 
top,  10.90  for  height;   M.  -  .385  by- .279;   Bl.  -  .387  by -.281. 

269  A.  Christ  Healing  the  Sick,  as  retouched  by 
Capt.  Wm.  Baillie. 

(a.)  The  whole  plate.  Sewall  Coll. 

(If.)  The  central  group.     Square  top.  Sewall  Coll. 

(e.)  Upper  left  hand  group.  Sewall  Coll. 

(d.)  Tower  left  hand  group.  Sewall  Coll. 

(<?. )  Right  hand  group.  Seivall  Coll. 

{/.)  The  central  group.     Arched  top.  Sewall  Coll. 

269  B.     Christ  Healing  the  Sick.  Copies. 

(<z.)  By  Thomas  Worlidge.  Sewall  Coll. 

{b.)  By  Leopold  Flameng.  Sewall  Coll. 

{c  )  By  photogravure.  Servall  Coll. 


SECOND    PRINT    ROOM. 


REMBRANDT'S  ETCHINGS, 

ARRANGED  IN  CHRONOLOGICAL  ORDER  ACCORDING  TO 
C.  VOSM^R'S  LIST,  Continued.     (Cases  i  to  id.) 


270.  An  Old  Man,  with  his  hands  upon  a  book. — 
Bl  287 ;  B  267  ;  W  269  ;  Du  281.  —  Assigned  to  between 
1640  and  1650  by  V,,  rejected  by  M.  Not  procurable. 

271.  The  Two  Houses,  with  pointed  gables.  —  Bl 
317;  B2i4;W  211;  Du  211. — Assigned  to  between 
1640  and  1650  by  V.,  rejected  by  M. 

One  state  only.     Shown  in  photogr.  Front  Bl.'s  R. 

Bl.  and  M.  both  think  that  this  etching  may  be  by  Philip  de  Koninck. 

272.  The  House  with  Three  Chimneys. —  Bl 
(under  339);  B  250;  W  246;  Du  247.  —  Assigned  to 
between  1640  and  1650  by  V.,  rejected  by  M. 

One  state  only.     Shown  in  photogr.  From  Bl.'s  R. 

iT3^.  Tobit  Blind,  feeling  for  the  door,  with  a  dog 
beside  him.  —  Bl  15  ;  B  42  ;  W  46 ;  M  226;  Du  45. — 
S\^ned:  Rembrandt/.     Dated  1 65 1. 

Two  states  ;  2d  state  shown.  Sewall  Coll. 

iT^.  Tobit  Blind,  feeHng  for  the  door. — Bl  14;  B 
153;  W  47  ;  M  180;  Du  149. — Assigned  to  about  1651 
by  v.,  to  1630  by  M. 

Four  states  ;  2d  state  shown  in  photogr.    Fro>n  Bl.'s  R. 


50  SECOND  PRINT  ROOM. 

275.  The  Flight  into  Egypt.  Night  effect. —  Bl 
26  ;  B  53  ;  W  58  ;  M  227  ;  Du  58.  —  Signed  :  Rembrandt f. 
Dated  165 1. 

Four  states  ;  two  shown  :  — 

(a.)     I  St  state  in  photogravure.  From  Bl.'s  R. 

{b^     4th  state.  Sewall  Coll. 

276.  Portrait  of  Clement  de  Jonghe.  —  Bl  180; 

B  272  ;  W  274  ;  M  164 ;  Du  263.  —  Signed:  Rembrandt./. 
Dated  1651. 

Six  states  ;  three  shown  :  — 

(fl!.)      ist  state.  Sewall  Coll. 

ij).')     3d  state.  Sewall  Coll. 

(c.)     6th  state.  Sewall  Coll. 

M.  thinks  that  the  alterations  of  the  3d  and  later  stales  were  not 
made  by  R. 

277.  The  Goldweigher's  Field.  —  Bl  334  ;  B  234  ; 
VV  231;  M  326;  Du  231. —  Signed:  Rembrandt.  Dated 
1651. 

One  state  only.  Sewall  Coll. 

A  view,  according  to  V.,  of  the  country  seat  of  the  Receiver  Uyten- 
bogaert  (The  Goldweigher),  with  the  city  of  Naarden  in  the  left  dis- 
tance. Mr.  Haden  would  have  it  called  "The  Chateau,"  possibly 
"  Six's  Chateau." 

278.  David  Kneeling  in   Prayer.  —  Bl   13  ;  B  41  ; 

W  45;  M  232  ;  Du   44.  —  Signed:  Rembrandt./.     Dated 
1652. 
Two  states ;  state  shown  t  Sewall  Coll. 

If  the  insignificant  distinctions  which  separate  the  "  states  "  of  this 
plate  are  to  be  -taken  into  account,  the  impression  shown  will  have  to 
be  placed  between  the  ist  and  2d  states,  for  while  the  small  white  spot 
on  the  left  of  the  plate  has  been  worked  over,  the  back  of  David's 
night-gown  shows  no  "  slipped  stroke." 

279.  Jesus  Disputing  with  the  Doctors  —  Bl  36 ; 

B  65  ;  W   69  ;  M  231  ;  Du  68.  —  Signed  :  Rembrandt.  /. 
Dated  1652. 
Three  states ;  2d  state  shown.  Sewall  Coll. 


REMBRANDT'S   ETCHINGS.  51 

280.  Jesus  Christ  Preaching.  (The  Little  La 
Tombe.) — Bl  39  ;  B  67;  W71;  M  229;  Du  71.  —  As- 
signed to  1652  by  V.  and  by  M. 

One  state  only  :  — 

(ar.)     Impression   from   the    plate  with   considerable 
bur  still  on  it.  Sewall  Coll. 

{l>.)     Impression  after  the  bur  had  all  worn  off. 

Sewall  Coll. 

This  plate  is  sometimes  called  "  Le  Petit  La  Tombe  "  (The  Little  La 
Tombe),  which  has  been  improved  into  "  La  Petite  Tombe  "  (The  Little 
Tombstone,  or  Tomb).  It  is  said  to  have  been  owned  in  R.'s  time  by  a 
dealer  in  prints,  named  La  Tombe  or  de  la  Tombe,  and,  to  distinguish 
it,  possibly,  from  other  larger  plates  belonging  to  him,  was  called  "  The 
Little  La  Tombe,"  which  became  in  French  "le  petit  La  Tombe." 

281.  Peasant  with  his  Wife  and  Children.  —  Bl 
120  ;  B  131  ;  W  134  ;  M  153  ;  Du  131.  —  Assigned  to  1652 
by  v.,  to  1643  by  M. 

One  state  only.  Sewall  Coll. 

282.  The  Vista.  (The  Bouquet  of  Trees.)  —  Bl  323  ; 
B  222  ;  W  219;  M  328;  Du  219.  —  Signed,  in  3d  state: 
Rembrandt  f.     Dated  1652. 

Three  states ;  3d  state  shown.  Sewall  Coll. 

283.  Landscape,  with  an  old  square  tower.  —  Bl  338 ; 
B  238;  W  235;  Du  235. — Signed:  Remb.  f.  Dated 
1653. 

One  state  only.     Shown  in  photogravure.   From  Bl.'s  R. 

The  date  is  hardly  legible.  M.,  who  rejects  the  print,  is  inclined  to 
read  it  1651. 

284.  The  Circumcision.  —  Bl  20;  B47;  W52;  M 
239;  Du  52.  —  Signed  and  dated  twice:  Rembrandt,  f. 
1654. 

Two  states  ;  both  shown  :  — 

(^.)      1st  state.  Sewall  Coll. 

ib.)     2d  state.  Sewall  Coll, 


52  SECOND  PRINT  ROOM. 

285.  The  Nativity.  —  Bl  18  ;  B  45  ;  W  50;  M  238  ; 
Du  50.  —  Signed  :  Rembrandt./.  Assigned  to  1654  by  V. 
and  by  M. 

Two  states  ;  both  shown  :  — 

{a.)     ist  state.  Sewall  Coll. 

(b.)     2d  state.  Sewall  Coll. 

286.  The  Flight  into  Egypt.  (The  Holy  Family 
Crossing  a  Rill.)  —  Bl  28  ;  B  55  ;  W  60  ;  M  240  ;  Du  60. 
—  Signed:  Rembrandt/.     Dated  1654. 

One  state  only.  Sewall  Coll. 

287.  The  Flight  into  Egypt,  in  the  manner  of 
Elsheimer.  —  Bl  29  ;  B  56;  W  61;  M  236;  Du  61. — 
Assigned  by  V.,  for  the  figures,  to  about  1652  to  1654,  by 
M.  to  1653. 

Five  states;  5th  state  shown  (?).  Sewall  Coll. 

It  is  well  known  that  this  plate  was  originally  etched  by  Hercules 
Seghers,  and  only  altered  and  adopted  or  appropriated  by  R.  The 
changes  in  the  4th  and  later  states  possibly  not  by  K. 

288.  The  Holy  Family  with  the  Cat,  or  with  the 
serpent.  —  Bl  34  ;  B  63  ;  W  67  ;  M  241 ;  Du  66. 

Two  states  ;  ist  state  shown.  Sewall  Coll. 

For  a  list  of  the  plagiarisms  charged  against  R.,  see  Mr.  Iladen's 
"  Monograph,"  pp.  18  and  19.  In  this  plate  he  is  said  to  have  imitated 
Mantegna's  "  Virgin  and  Child,"  B.  8.  The  reduced  copy  of  this 
engraving,  exhibited  below  the  etching,  will  enable  the  visitor  to  judge 
for  himself  of  the  extent  of  imitation  practised  by  R.  in  this  case. 

289.  Jesus   Disputing   with   the    Doctors.      The 

smaller  plate. —  Bl35;B64;   W  68  ;   M  245  ;   Du  67. — 
Signed  :  Rembrandt.  /.     Dated  1654. 

One  state  only.  Sewall  Coll. 

290.  Jesus   Brought   Home   from   the   Temple. 

(Jesus  and  his  parents  returning  from  Egypt.)  —  Bl  38  ;  B 
60  ;    W   64  ;    M    244 ;    Du   70,  —  Signed :    Rembrandt.  / 
Dated  1654. 
On?  state  only.  Sewall  Coll, 


REMBRANDT'S  ETCHINGS.  53 

291.     The  Descent  from  the  Cross.     Night  effect. 
—  Bl  58  ;  B  83  ;  W  88  ;  M   242  ;  Du  90.  —  Signed  :  Rem- 
brandt./.    Dated  1654.  ' 
One  state  only  :  — 

(a.)     Early  impression,  showing  considerable  bur. 

Sewall  Coll. 
{b)     Later  impression.  Sewall  Coll, 

M.  describes  the  figure  spreading  a  sheet  to  receive  the  body  as  "a 
woman  with  a  headdress  like  that  of  a  nun."  The  impressions  here 
exhibited,  and  more  especially  impression  b,  clearly  show  that  it  is  an 
elderly  man  with  wrinkled  brow  and  heavy  beard. 


292.     The    Entombment.— Bl   61;    B   86;   W  91; 

M  233  ;  Du  93.  — Assigned  to  1654  by  V.,  to  1652  by  M. 
Four  states;  3d  state  shown.  Sewall  Coll. 

The  impression  exhibited  has  in  parts  been  washed  with  India  ink. 
The  4th  state,  M.  thinks,  is  not  due  to  R. 


293.     Jesus  and  the  Disciples  at  Emmaus.  —  Bl 
63  ;  B  87  ;   W  92  ;  M  237  ;  Du  94.  —  Signed  :  Rembrandt./. 
Dated  1654. 
Two  states  ;  both  shown  :  — 

(as.)     ist  state  in  photogravure.  From  Bl.^s  R. 

(b.)     2d  state.  Savall  Coll. 


294.     The    Kolf  Players. —  Bl  97;  B  125;  W  129; 
M  294;  Du  126.  —  Signed:  Rembrandt /.     Dated  1654. 
Two  states  ;  both  shown :  — 

(fl!.)     1st  state.  Sewall  Coll. 

(^.)     2d  state.  Sewall  Coll. 


295.  Portrait  of  Titus,  R.'s  Son.— Bl  236;  B  11; 
W  II  ;  M  165  ;  Du  11.  —  Assigned  to  about  1652  to  1654 
by  v.,  to  1652  by  M. 

One  state  only.      Shown  in  photogravure. 

From  Bl.'s  R, 


54  SECOND  PRINT  ROOM. 

296.  Four   Plates    for    a    Spanish   Book    (i.   e. 

Menasseh-Ben-Israel's  "  Piedra  gloriosa  ") .  —  Bl  8  ;  B  36  ; 
W  40;  M  247;  Du  47. —  Signed:  Rembrandt,  f.  Dated  1655. 

A.  The  Image  which  Nebicchadnezzar  saw. 

Five  states  ;  5th  state  shown.  Se^vall  Coll. 

B.  EzekieVs  Vision. 
Three  states;  3d  state  shown. 

{a.)     Impression  on  paper.  Sewall  Coll. 

{b.)     Impression  on  vellum.  Sewall  Coll, 

c.    Jacobs  Ladder. 
Three  states  ;  2d  state  shown.  Sewall  Coll. 

D      David  and  Goliath. 
Three  states ;  3d  state  shown.  Sewall  Coll. 

297.  The  Agony  in  the  Garden.  —  Bl  50;  B  75  ; 
W  79  ;  M  251  ;  Du  82.  —  Signed:  Rembrandt./.  Dated 
165  .  —  Assigned  to  1655  by  V.,  to  1657  by  M. 

One  state  only.  Sewall  Coll. 

The  last  figure  is  wanting  in  the  date. 

298.  Abraham's  Sacrifice. — Bl  6;  B  35;  W  39; 
M  246  ;  Du  40.  —  Signed  :  Rembrandt f.     Dated  1655. 

One  state  only.  Sewall  Coll. 

Mr.  Haden  makes  Gerbrand  van  den  Eeckhout  the  author  of  this 
composition. 

299.  Christ   presented   to   the  People.  —  Bl  51; 

B  76  ;  W  80 ;  M  248  ;  Du  83.  —  Signed  and  dated  in  the 
6th  state  :  Rembrandt/.  1655. 
Seven  states  ;  three  shown  :  — 

(a.)     I  St  state.     Flameng's  copy.  Sewall  Coll. 

{b.)     3d  state.  Sewall  Coll. 

(c. )     7  th  state.  Sewall  Coll. 

M.  opines  that  the  variations  after  the  4th  state  are  not  by  R.,  an 
opinion  evidently  not  shared  by  Bl.  A  remote  resemblance  in  the  gen- 
eral ordering  of  the  plate  to  Lucas  van  Leyden's  engraving  of  the  same 
scene,  has  caused  it  to  be  spoken  of  as  "  in  the  manner  of  Lucas  van 
Leyden."  The  small  autotype  of  Lucas's  composition,  placed  alongside 
of  R.'s  etching,  or  rather  dry-point,  will  enable  the  visitor  to  form  an 
independent  judgment  of  this  charge  of  plagiarism. 


REMBRANDT'S   ETCHINGS.  55 

300.  The  Three  Crosses.  —Bl  53  ;  B  78  ;  W81 ;  M 

235  ;  Du  85. —  Signed  and  dated  in  the  3d  and  later  states  : 
Rembrandt,  f.  1655. 

Five  states  ;  two  shown  :  — 

(«.)     3d  state  in  photogravure.  From  JBL's  R. 

\b.)     4th  state.     With  a  margin.      Edw.  W.  Hooper. 

{c.)     4th  state.     On  brownish  paper.        Sewall  Coll. 

Impression  b  is  shown  framed  on  a  stand  on  the  table.  M.  and 
others  read  the  date  1653,  but  the  line  which  apparently  makes  a  3 
of  the  second  5  is  evidently  part  of  a  shading  line  in  the  foreground. 
It  is  well  known  that  the  theories  and  differences  of  opinion  called  forth 
by  this  plate  are  of  the  most  extraordinary  kind,  and  students  will  not 
fail,  therefore,  to  read  what  has  been  said  about  it  by  Hamerton,  Blanc, 
Iladen  ("  Monograph,"  pp.  37  and  51),  and  others. 

301.  The  Little  Goldsmith. —Bl  94; B  123  ;W  127; 
M  295  ;  Du  124.  — Signed  :  Rembrandt  f.     Dated  1655. 

One  state  only.     (Two  impressions  shown.)  Sewall  Coll. 

v.,  overlooking  the  name  and  date,  which  are  almost  illegible,  assigns 
this  plate  to  1654. 

302.  Portrait     of    Thomas    Jacobsz.     Haring. 

(Young  Haring.)  —  Bl  179  ;  B  275  ;  W  277  ;  M  169  ;  Du 
262.  —  Signed:  Rembrandt./.     Dated  1655. 
Five  states  ;  three  shown  :  — 

(a.)      ist  state,  in  photogravure.  From  Bl.^s  R. 

(/a)     2d  state.  Sewall  Coll. 

(f.)     4th  state.  Gray  Coll. 

M.  doubts  whether  the  2d  state  is  by  R.,  and  ascribes  all  later  states 
to  other  hands. 

303.  Portrait  of  Jacob  Haring.  (Old  Haring.)  — 
Bli78;B274;  W  276  ;  M  168  ;  Du  261.  —  Assigned  to 
1655  by  V.  and  by  M. 

One  state  only  ?  Sewall  Coll. 

W.  and  Bl.  describe  three  states.  The  impression  exhibited,  which  is 
on  vellum  (or  on  pig-skin?),  shows  certain  peculiarities  which  seem  to 
distinguish  it  from  these  states,  and  place  it  between  the  2d  and  3d. 
Notice  especially  the  absence  of  the  harsh  dry-point  lines  in  the  face 
and  hair.  The  frequent  occurrence  of  impressions  on  vellum  about 
this  time  is  worthy  of  remark.  One  of  the  plates  for  a  Spanish  book 
is  printed  on  it  (1655),  and  it  was  used  for  some  of  the  earlier  states 
of  the  Three  Crosses.     See  also  next  number. 


$6  ^ECO^TD  PRINT  ROOM. 

304.  Portrait  of  Abraham  Francen.  —  (Frans, 
Fransz).  —  Bl  176  ;  B  273  ;  W  275  ;  M  172  ;  Du  260.  —  As- 
signed to  probably  1655,  certainly  not  before  1654,  by  V., 
to  1656  by  M. 

Ten  states ;  three  shown  :  — 

(«.)     4th  state.  On  vellum  (or  pig-skin  ?).    Gray  Coll. 
{b.)     8th  state.  Sewall  Coll. 

{c.)     loth  state.  Seivall  Coll. 

M.  thinks  that  after  the  4th  state,  the  plate  was  worked  upon  by 
other  hands. 

305.  Abraham  Entertaining  the  Angels.  —  Bl  2  ; 
B  29  ;  W  36  ;  M  250  ;  Du  36.  —  Signed  :  Rembrandt,  f. 
Dated  1656. 

One  state  only.  Sewall  Coll. 

306.  Portrait  of  John  Lutma,  the  Elder.  —  Bl  182  ; 

B  276;  W  278  ;  M  171  ;  Du  265.  —  Signed  and  dated  in 
2d  state  :  Rembrafidt .  f.  1656.  M.  places  the  ist  state  a 
year  earlier. 

Three  states ;  two  shown  :  — 

(a.)     I  St  state  in  photogravure.  M.  of  F.  A. 

(^.)     2d  state.  Sewall  Coll. 

M.  thinks  that  the  additions  in  the  2d  state  are  not  by  R.,  for  which 
opinion  he  is  taken  to  task  by  Mr.  Haden  ("  Monograph,"  p.  51). 

307.  Portrait  of  Dr.  Arnoldus  Tholinx.  (Pieter 
vanTol;  the  Advocate  Tolling.)— Bl  188;  B  284 ;  W 
286;  M  170;  Du  270.  —  Assigned  to  between  1654  and 
1656  by  v.,  to  1655  by  M. 

Two  states  ;  2d  state  shown  in  photogr.      From  Bl.^s  R. 

308.  St.  Francis  Praying.  —  Bl  78  ;  B  107  ;  W  112  j 
M  252  ;  Du  109.  —  Signed  :  Rembrandt./.     Dated  1657. 

Two  states  ;  2d  state  shown.  Sewall  Coll. 

This  is  one  of  the  prints  for  which,  according  to  Mr.  Iladen,  R. 
adopted  a  background  from  some  design  l)y  Titian  or  Campagnola.  A 
remarkably  fine  impression,  treated  almost  like  a  monotype  in  the  wip- 
ing, is  in  the  collection  of  Mr.  Theodore  Irwin,  of  Oswego,  N.  Y. 


REMBRANDT'S  ETCHINGS.  §7 

309.  The  Presentation  in  the  Temple.  A  dark 
print.  —  Bl  23  ;  B  50  ;  W  55  ;  M  243  ;  Du  55.  —  Assigned 
to  between  1656  and  1658  by  V,,  to  1654  by  M. 

One  state  only.  Seivall  Coll. 

310.  Jesus  and  the  Samaritan  Woman.     Arched. 

—  J]l  45;  B   70;  W  74;  M  253;  Du   72.  —  Signed  and 
dated  in  3d  state  :  Rembrandt  f  \^^^. 

Three  states;  3d  state  shown.  Sewall  Coll. 

M.  believes  the  3d  state  to  show  work  by  a  later  hand. 

311.  The  "Woman  at  the  Stove.  —  Bl  161  ;  B  197  ; 

W  194  ;  M  299  ;  Du  194.  —  Signed  :  Rembrandt f.     Dated 
1658. 

Six  states ;  three  shown  :  — 

(a.)     2d  state  in  photogravure.  From  Bl.^s  R. 

(b.)     3d  state.  Sewall  Coll. 

{c.)     6th  state.  Setvall  Coll. 

It  has  been  suggested  that  the  model  which  served  for  this  and  the 
succeeding  studies  of  women  was  R.'s  second  wife  (?),  Hendrickie 
Jaghers  or  Stoffels.     See,  however,  V.,  "  Rembrandt,"  p.  358. 

312.  The  Bather.  —  Bl  163  ;  B  199  ;  W  196 ;  M  298  ; 
Du  196.  —  Signed:  Rembrandt. f.     Dated  1658. 

Two  states  ;  2d  state  shown.  Sewall  Coll. 

313.  A  Woman  with  her  feet  in  the  water.  — Bl  164; 
B  200;  W197;  M  297;  Du  197.  —  Signed:  Rembrandt/. 
Dated  1658. 

One  state  only.  Sewall  Coll. 

314.  A  W^oman  lying  on  a  couch.     (The  Negress.) 

—  Bl  169;  B  205  ;  W    202;  M   300;  Du    202.  —  Signed: 
Rembrandt./.     Dated  1658. 

Three  states ;  3d  state  shown.  Sewall  Coll. 

315.  Antiope  and  Jupiter.  —  Bl  167;  B  203;  W 
200  ;  M  301  ;  Du  200.  —  Signed  :  Rembrandt.  /.  Dated 
1659. 

Two  states  ;    1st  state  shown.  Sewall  Coll. 


58  SECOND  PRINT  ROOM. 

316.  St=  Peter  Healing  the  Cripple.  (St.  Peter  and 
St.  John  at  the  Gate  of  the  Temple.)  — Bl  66;  B  94;  W 
98;  M  254;  Du  97.  —  Signed:  Rembrandt/.  Dated 
1659. 

Four  states  ;  (?)  state  shown.  Sewall  Coll. 

It  is  impossible,  from  the  confused  and  insufficient  descriptions,  to 
make  out  the  states  of  this  plate.  The  impression  shown  is  certainly  of 
a  later  state.  The  wonder  is  that  the  plate  is  not  among  those  classed 
as  doubtful  by  the  cataloguers.  It  is  one  of  the  worst  with  which  R.'s 
name  is  connected.  Note,  for  only  one  thing,  the  figure  of  St.  John, 
muffled  up  in  a  cloak  like  the  traditional  Italian  brigand  of  the  stage, 
posed  in  an  awkward  contortion,  and  drawn  like  a  bundle  of  clothing, 
without  any  feeling  for  the  human  figure. 

317.  The  Landscape  with  the  Palisades.  —  Bl 
343  ;  B  247  ;  W  243  ;  Du  244.  —  Dated  1659.  Rejected 
by  M.  and  doubted  by  others. 

One  state  only.    Shown  in  photogravure.    From  Bl.'s  R. 

318.  The    "Woman  with  the  Arrow.  —  Bl   166  ; 

B  202  ;  W  199  ;  M  302  ;  Du  199.  —  Signed  :  Rembradt  f. 
(no  n).     Dated  1661. 
Three  states  (?)  ;  2d  (?)  state  shown.  Sewall  Coll. 

The  tinting  observable  in  the  impression  shown  is  due  to  ink  left 
upon  the  plate  in  printing.  Bl.  and  B.  describe  only  one  state,  W. 
describes  two,  M.  reduces  W.'s  states  to  the  rank  of  2d  and  yX,  and 
describes  a  new  ist.  This  is,  however,  as  he  himself  says,  "  a  trial  proof." 
The  only  difference  between  it  and  his  2d  state  consists  in  the  deepen- 
ing of  a  shadow.  It  is  clear,  therefore,  that  it  is  not  "  a  state  "  at  all. 
M.  thinks  that  this  was  the  last  plate  etched  by  R. 

319.  Portrait  of  Coppenol.  (The  Large  Coppenol.) 
—  Bl  175  ;  B  283 ;  W  285  ;  M  174  ;  Du  258.  —  Assigned  to 
1661  by  v.,  to  1658  by  M. 

Six  states  ;  two  shown  :  — 

(a.)     3d  state.  day  Coll. 

(^.)     6th  state.  Sewall  Coll, 

See  No.  77  of  this  catalogue. 


REMBRANDT'S   ETCHINGS.  59 


THE    FOLLOWING    PIECES  ARE    LEFT  UNCLASSIFIED   BY 
V.     (Cases  9,  11,  and  13,  15.) 

320.  Three  Profiles  of  Old  Men.  —  Bl  303  ;  B  374 ; 
W  368  ;  M  12  ;  Du  362.  —  Assigned  by  M.  to  1629. 

One  state  only.    Shown  in  photogravure.    From  BL^s  B. 

321.  An  Old  Woman  in  a  veil. — Bl  243;  B  358; 
W  352  ;  M  68  ;    Du  346.  —  Assigned  by  M.  to  1631. 

Two  states  ;  2d  state  shown.  Sewall  Coll. 

322.  A  Man  Grimacing.  —  Bl  263  ;  B  308  ;  W  309  ; 
M  60  ;  Du  304.  —  Assigned  by  M.  to  163 1. 

Three  states ;  2d  state  shown.  Sewall  Coll. 

All  but  the  1st  state  probably  retouched  by  a  later  hand,  according 
to  M, 

323.  Head  of  a  Man,  small,  with  a  grotesque  hat. 
(Slave  with  a  High  Hat.)  —  Bl  296  ;  B  302  ;  W  302  j 
M  81  ;  Du  298.  —  Assigned  by  M.  to  163 1, 

Two  states ;  2d  state  shown.  Sewall  Coll, 

324.  An  Old  Man,  with  white  beard,  and  fur  cap.  — 
BI278;  B3i2;W3i3;  M  64  ;  DU308.  —  Assigned  by  M. 
to  1631. 

Two  states ;  2d  state  shown.  Sewall  Coll. 

325.  An  Old  Man,  with  head  bowed  down.  —  Bl  300  ; 
B  296  ;  W  296;  M  95  ;  Du  292. — Assigned  by  M.  to 
1632. 

One  state  only.  Sewall  Coll. 

326.  An  Elderly  Man,  with  his  underlip  thrust  out.  — 
Bl  259  ;  B  305  ;  W  305  ;  M  119  ;  Du  301.  — Assigned  to 
1635  by  M. 

Two  states ;  ist  state  shown.  Sewall  Coll. 

V.  thinks  this  piece  "  very  doubtful." 


60  SECOND   PRINT  ROOM. 

327.  The  Large  Tree  beside  the  House.  Morn- 
ing effect. —  Bl  310;  B  207 ;  W  204;  M  303;  Du  204. 
—  Assigned  by  M.  to  1640. 

One  state  only.     Shown  in  photogravure.     From  BlJ's  R. 

328.  The  Draughtsman.  —  Bl  100  ;  B  130  ;  W  133  ; 
M  270;  Du  130.  —  Assigned  by  M.  to  1641. 

Two  states;  ist  state  shown.  Sewall  Coll. 

329.  An  Old  Woman  Reading.  —  Bl  248  ;  B  362  ; 

W  356  ;  M  149  ;  Du  350.  —  Assigned  by  M,  to  1641. 
One  state  only.     Shown  in  photogravure.     From  Bl.'s  R. 

330.  A  Young  Man,  wearing  a  hat.  —  Bl  256  ;  B  330 ; 
W  327  ;  M  163  ;  Du  322.  —  Assigned  by  M,  to  1651. 

One  state  only.     Shown  in  photogravure.   From  Bl.^s  R, 

331.  Sketches  of  a  horse,  a  grove,  etc.  —  Bl  348  ;  B 
364  ;  W  358  ;  M  166;  Du  352.  — Assigned  by  M.  to  1652. 

One  state  only.     Shown  in  photogravure.  From  Bl.'s  R. 

332.  An  Elderly  X^an,  wearing  a  cap  with  earflaps.  — 
Bl  295  ;  B  323  ;  W  321  ;  Du  316.  —  Rejected  by  M. 

One  state  only.  Shown  in  photogravure.     F7-om  BlJs  R. 

333.  An  Old  Man,  widi  a  pointed  beard.  —  Bl  306  ; 
W  334.  —  Rejected  by  M. 

One  state  only.  Not  procurable. 

Although  Bl.  describes  this  piece,  he  nevertheless  also  rejects  it. 

334.  Head  of  a  Man,  with  curly  hair.  — Bl  307  ;  W 
336. —  Rejected  by  M. 

One  state  only.  Not  procurable. 

This  again  Bl.  describes,  but  nevertheless  rejects. 

335.  The  Landscape  with  the  Little  Man.  —  Bl 
339  ;  B  239;  W  237  ;  Du  237.  — Rejected  by  M. 

One  state  only.  Not  procurable. 

Rejected  by  Bl.  also,  although  he  describes  it. 


REMBRANDT'S   ETCHINGS.  6 1 

336.  A  Landscape,  with  a  fisherman  in  a  boat.  —  Bl 
341 ;  B  243  ;  W  239  ;  Du  240.  —  Rejected  by  M. 

One  state  only.     Shown  in  photogravure.    FromBlJs  R. 

337.  The  Village  Street.  —  Bl  347  ;  B  254 ;  W  250 ; 
Du  251.  — Rejected  by  M. 

One  state  only.     Shown  in  photogravure.  From  Bl.'s  R. 

Bl.  is  inclined  to  think  that  this  is  the  work  of  a  child,  perhaps  of 
Titus. 

338.  An  Old  Man,  in  a  cap.  —  Bl  304. 

One  state  only.    Shown  in  photogravure.    From  Bl.^s  R. 

Described  by  Bl.  only,  and  doubted  by  him. 

339.  An  Old  Man,  in  a  fur  cap.  —  BI305. 

One  state  only.    Shown  in  photogravure.    From  BlJs  R. 

Like  No.  338,  described  by  Bl.  only,  and  doubted  by  him. 


THE  FOLLOWING  PIECES  ARE  EITHER  EXPLICITLY 
REJECTED  BY  V.,  OR  TACITLY  OMITTED  BY  HIM. 
(Cases  17,  19.) 

340.  Rembrandt.  —  Bl  230;  B  338  ;  W  30  ;  M  7  ;  Du 
30.  —  Monogram  apparently  RHL.  Dated  1629.  The 
whole  reversed. 

One  state  only.  Shown  in  photogravure.    From  BL's  R. 

341.  A  Philosopher  with  an  hour-glass.  —  Bl  113; 
B  318;  W  318  ;  M  15  ;  DU313.  —  R  H  1630,  said  to  be  on 
2d  state. 

Two  (or  three  .'')  states  ;  (?)  state  shown.      Sewall  Coll. 

The  impression  shown  does  not  agree  with  any  of  the  descriptions 
of  states,  neither  do  the  reproductions  given  by  Bl.  and  by  Du.  As 
this  is  evidently  surface  printing,  i.  c,  printing  from  a  relief  block  cut 
either  on  wood  or  on  metal,  some  queer  "  plugging  "  must  have  been 
done  for  the  pleasure  of  manufacturing  the  various  states  described. 


62  SECOND  PR/NT  ROOM. 

342.  The  Onion  Woman.  — Bl  102  ;  B  134;  M  66  ; 
Du  133.  —  Marked  in  2d  state  :  Rt  1631. 

Two  states ;  2d  state  shown,  Sewall  Coll. 

M.  does  "  not  hesitate  to  attribute  this  print  to  R."  The  monogram 
and  date  have  little  of  the  character  of  those  seen  on  undoubted 
works. 

343.  A  Young  Man  wearing  a  cap.  —  BI  297  ;  B  322  ; 

W  320  ;  M  46  ;  Du  315.  —  Marked  in  ist  state  :  RH  1631. 
Two  states  ;  2d  state  shown  in  photogr.        From  Bl.^s  R. 

344.  An  Old  Man  with  square  beard  and  high  fore- 
head.—  Bl  279;  B3i4;W3i5;M59;  DU310. —  Assigned 
by  M.  to  1631. 

Two  states ;  2d  state  shown  in  photogr.     From  BL's  R. 

345.  An  Elderly  Man  with  a  bushy  beard.  —  Bl  277  ; 
B  297  ;  W  297  ;  M  61  ;  Du  293.  —  Monogram  apparently 
RH.     Dated  1631. 

Three  states  ;  2d  state  shown  in  photogr.  From  Bl.^s  R. 

346.  Rembrandt's  Mother  in  widow's  dress. — Bl. 
197  ;  B  344 ;  W  340 ;  M  92  ;  Du  333.  —  Signed  :  Rembrandt./. 
Assigned  by  M  to  1632. 

One  state  only.  Sewall  Coll. 

347.  Jacob  Lamenting  the  Supposed  Death  of 
Joseph.  —  Bl  10;  B  38;  W  42;  M  189;  Du  42.  —  Rem- 
brant  (no  d)  van  Rijnft.     Assigned  to  1633  by  M. 

One  state  only.  Sewall  Coll. 

M.  thinks  this  plate  may  possibly  be  by  Van  Vliet.  The  signature 
is  certainly  peculiar.  "  It  only  occurs  once  again  in  these  etchings," 
savs  M.,  "  .  .  .  the  larger  Resurrection  of  Lazarus."  This,  however, 
is  not  strictly  true,  as  the  comparison  will  show.  See  No.  69  of  this 
catalogue. 

348.  Two  Travelling  Peasants.  —  Bl  1 10  ;  B  144 ; 
W  144;  M  104;  Du  142.  —  Assigned  by  M.  to  1634. 

One  state  only.  Sewall  Coll. 


REMBRANDT'S  ETCHINGS.  63 

349.  Philosopher  in  Meditation.  —  BI  112;  B  148; 
W  146 ;  M  276  ;  Du  144.  —  Assigned  by,  M.  to  1642. 

Five  states  \  3d  state  shown.  Sewall  Coll. 

There  is  a  pretty  close  copy  of  this  print  in  the  Sewall  Collection. 
No  copies  are  mentioned  by  M. 

350.  Female  Peasant  holding  a  jug.  —  Bl  144; 
B  181 ;  W  178  ;  Du  177.  — Attributed  to  Lievens  by  M. 

One  state  only.     Shown  in  photogravure.  From  Bl.'s  R. 

351.  Male  Peasant  with  a  basket  by  his  side.  —  Bl 
143  ;  B  180 ;  W  177  ;  Du  176.  —  Attributed  to  Lievens  by 
M. 

One  state  only.  Sewall  Coll. 

352.  A  Young  Woman,  reading.  —  Bl  247  ;  B  361  ; 
W  355  ;  Du  349.  —  Rejected  by  M. 

One  state  only.  Not promrable. 

Rejected  also  by  Bl.,  although  he  describes  it. 

353.  A  Young  Man  in  a  turned-up  hat.  —  Bl  254  ;  B 
329 ;  W  326  ;  Du  321.  —  Rejected  by  M. 

Two  states  ;  2d  state  shown  in  photogr.      From  Bl.'s  R. 

354.  The  Big  Tree.  —  Bl  340 ;  B  241  ;  W  238  ;  Du 
238,  —  Rejected  by  M. 

One  state  only.     Shown  in  photogravure.  From  Bl.'s  R. 

355.  A  Cottage  with  a  Barn  filled  with  Hay.  — 
Bl  344;  B  248  ;  W  244;  Du  245.  —  Rejected  by  M. 

One  state  only.  Shown  in  photogravure.    From  Bl.'s  R. 

356.  The  Mother  of  Rembrandt.  —  Bl  194 ;  B  353  ; 

Du  342. 

States  (?) .  Not  procurable. 

This  plate  is  described  by  the  older  cataloguers,  and  after  them  by 
some  of  the  later.  No  impressions,  however,  can  now  be  found,  and  it 
is  a  question  whether  the  plate  ever  existed.  This  is  only  one  of  several 
similar  cases. 


64  SECOND  PRINT  ROOM. 

357.  Portrait  of  Jan  Six.  —  Bl  185, 

Two  states  (?).     2d  (?)  state,  shown  in  photogravure. 

From  Bi:s  R. 
Described  only  by  Bl. 

358.  The  Nail  Cutter.     (Bathseba.)  —  B  127. 
One  state  only.  Sewall  Coll. 

Described  only  by  B.     Rejected  by  all  later  writers. 

359.  Cupid,  —  B  132. 

One  state  only.  Sewall  Coll. 

Described  only  by  B.     Rejected  by  all  later  writers. 

360.  The  Hour  of  Death.  — B  108. 

Two  states ;  2d  state  shown.  Gray  Coll. 

Attributed  to  P'erdinand  Bol  by  all  later  writers. 

361.  The  Pen  Cutter.  —  Daulby  361. 

States  (?).  Sewall  Coll. 

This  piece  is  attributed  to  R.  by  Daulby,  but  rejected  by  all  other 
writers. 


ETCHINGS,   ENGRAVINGS,   ETC. 

EXECUTED   FROM   PAINTINGS  AND    SKETCHES    BY   REM- 
BRANDT.    (Cases  30-39,  20-25,  -^^'i^  27.) 


The  following  etchings,  etc.,  are  arranged  chonologi- 
cally,  in  the  order  of  the  years  in  which  R.  executed,  or  is 
supposed  to  have  executed,  the  originals  which  they  trans- 
late. It  has  been  impossible,  however,  to  exhibit  them  in 
the  order  of  the  catalogue,  owing  to  considerations  of  size, 
etc.  For  this  reason  the  case  number  is  given  after  each 
title,  which  will  enable  the  visitor  to  find  any  given  number 
without  difficulty.  Cases  30^to  39  are  in  the  southern  half 
of  the  room,  cases  20  to  25,  and  27jn  the  northern  half. 


ETCHINGS,    ETC.,  AFTER  REMBRANDT.  65 

362.     St.  Paul  in  Prison.    (Case  20.)  —  Dated  1627. 

—  Museum  at  Stuttgart.  —  Etched  by  N.  Baldinger. 

S.  R.  Koehler. 

The  earliest  known  dated  picture  by  R.    Compare  No.  54  of  this  cat- 
alogue. 


363.     The   Money   Changer.     (Case   20.) — Dated 
1627.  — Berlin,  Gallery. —  Etched  by  Wm.  Unger. 

S.  R.  Koehler. 

Not  catalogued  by  V.     See  Dr.  W.   Bode,  "  Rembrandt's  friiheste 
Thatigkeit,"  in  "  Graphische  Kunste,"  Vol.  Ill,  p.  49  et  seq. 


364.  St.  Jerome  in  a  Grotto.  (Case  20.)  —  As- 
signed to  about  1629  to  1630  by  V. — JBerlin,  Gallery. — 
Etched  by  J.  J.  Van  Vliet  in  1631.  (Shown  in  photo- 
gravure.) S.  R.  Koehler. 

365.  Hermit  (or  Loth?)  in  a  Grotto.  (Anchises 
at  the  burning  of  Troy.)  (Case  20.)  —  Dated  1630.  — 
Cesar  Collection  (in  Schmidt's  time).  —  Etched  by  G.  F. 
Schmidt.  Gray  Coll. 


366.     Portrait  of  an  Old  Man.    (Case  20.)  —  Dated 
1630.  —  Cassel  Gallery.  —  Etched  by  Wm.  Unger. 

S.  R.  Koehler. 


367.     The  Entombment  of  Christ.     (Case  20.)  — 
Dated  1630.  —  British  Museum.  —  Heliotype. 

S.  R.  Koehler. 
See  No.  69  of  this  catalogue. 


368.  Loth  and  his  Daughters.  (Case  20.)  —  Dated 
1631.  — Etched  by  J.  J.  Van  Vliet.  (Shown  in  photogra- 
vure.) S.  R.  Koehler. 

See  the  original  etching  under  No.  432. 


66  SECOND  PRINT  ROOM. 

369.  Loth  and  his  Daughters.  (Case  20.)  —  As- 
signed to  about  1 63 1  by  V.  —  Collection  of  Prince  Henry 
of  Prussia  (in  Schmidt's  time). — Etched  by  G.  F. 
Schmidt.  Gray  Coll. 

370.  The  Baptism  of  the  Eunuch.  (Case  21.)  — 
Assigned  to  about  1631  by  V.  —  Etched  by  J.  J.  Van 
Vliet  in  1631.     (Shown  in  photogravure.)     S.  R,  Koehkr. 

371.  Holy  Family.  (Case  21.) — Dated  1631. — 
Munich,  Pinakothek.  —  Etched  by  P.  Halm.    S.  JR.  Koehler. 

Not  catalogued  by  V.    See  Dr.  W.  Bode,  as  under  No.  363. 

372.  Dr.  Nicolas  Tulp's  Anatomical  Lecture. 
(Case  30.) — Dated  1632. — The  Hague,  Museum. — 
Etched  by  J.  P.  de  Frey.  Gray  Co//. 

ST^Pi..  The  Same.  (Case  21.)  — Etched  by  Wm. 
Unger.  S.  R.  Koeh/er, 

373.  Maurits  Huygens,  Secretary  of  the  Council 
of  State.  (Case  21.) — Dated  1632. —  Hamburg,  Wessel- 
hceft  Collection.— Etched  by  W.  Hecht.       S.  R.  Koeh/er. 

374.  Study  of  the  Head  of  an  Old  Man.  (Case 
38.)  —  Dated  1632.  Oldenburg,  Gallery.  —  Etched  by 
L.  Kuhn.  S.  R.  Koeh/er. 

Not  catalogued  by  V.  See  Dr.  W.  Bode,  "  Bilderlese  aus  kleineren 
Gemaldesammlungen,"  Vienna:   1885,  etc. 

375.  Portrait  of  a  Young  Dutch  Woman.  (Case 
21.) — Dated  1632.  —  Vienna,  Academical  Gallery. — 
Etched  by  Wm.  Unger.  S.  R.  Koeh/er. 

Not  catalogued  by  V.  See  "Zeitschrift  fur  bildende  Kunst,"  Vol. 
XIll,  p.  224. 

376.  Philosopher  in  Contemplation.  (Case  30.) 
—  Dated  1633.  —  Paris,  Louvre.  —  Engraved  by  Caronni 
and  Longhi.  Gray  Co//. 


ETCHINGS,   ETC.,  AFTER  REMBRANDT.  6/ 

377.  Philosopher  in  Meditation,  (Case  31.)  — 
Dated  1633.  —  Paris,  Louvre.  —  Engraved  by  Cozzi  and 
Longhi,  Gray  Coll. 

378.  Man  Studying.  (Case  21.) — Dated  1633. — 
Urunswick,  Gallery.  —  Etched  by  Wm.  Unger. 

S.  R.  Koehler. 

Dr.  W.  Bode,  "Zeitschrift  fijr  bildcnde  Kunst,"  Vol,  V,  p.  175,  reads 
the  date,  which  is  injured,  1633.     V.  assigns  the  picture  to  al)out  1645. 

379.  Saskia  Smiling.  (Rembrandt's  Daughter.) 
(Case  31.) — Dated  1633,  —  Dresden,  Gallery. — Lithogr, 
by  Hanfstangl.  Gray  Coll. 

It  is  hardly  necessary  to  say  that  the  second  title  is  erroneous.  In 
1633  R.  was  himself  only  twenty-six  years  old. 

380.  Portrait  of  a  Gentleman.  (Borgomastro 
Olandese  )  (Case  32.)  —  Dated  1633. — Casa  Mamfrini 
(in  181 1).  —  Engraved  by  G.  Longhi.  Gray  Coll. 

381.  Saskia,  R.'s  Wife.  (Case  21.)  —  Dated  1633. 
Berlin,  Print  Cabinet.  —  Etched  by  Wm,  Unger. 

S.  R.  Koehler. 

Silverpoint  drawing  on  parchment.  See  about  the  curious  discrep- 
ancy in  the  date,  V.,  "  Rembrandt,"  2d  ed,,  pp.  132  an<I  133,  and 
"American  Art  Review,"  Vol.  II,  Div.  2,  pp,  112-114, 

382.  The  Shipbuilder  and  His  Wife.  (Case  32.) 
—  Dated  1633.  — Buckingham  Palace.  —  Mezzot.  by  C. 
H.  Hodges.  Sewall  Coll. 

383.  Portrait  of  an  Old  Lady.  (Case  21.)  —  Dated 
1634,  —  London,  National  Gallery.  —  Etched  by  Paul 
Rajon.  S.  R.  Koehler. 

384.  Rembrandt.  (Count  Horn.)  (Case  21.)  — 
Dated  1634.  —  Florence,  Pitti  Palace.  —  Etched  by  G.  F. 
Schmidt.  Gray  Coll. 

See  No.  471, 


68  SECOND  PRINT  ROOM. 

385.  Young  Lady  with  Flowers.  (Saskia  )  (Case 
22.) — Dated  1634.  —  St.  Petersburg,  Hermitage. — 
Etched  by  N.  Massaloff.  S.  R,  Koehler. 

386.  Samson   Threatening  his   Father-in-Law. 

(Duke  Adolphus  of  Guelders  threatening  his  father.) 
(Case  22.)  —  Date  read  1635  by  V.  —  Berlin,  Gallery. — 
Etched  by  G.  F.  Schmidt.  Gray  Coll. 

387.  Tobias  and  His  Wife.  (Case  22.)  — As- 
signed to  about  1635  to  1640  by  V.  —  Etched  by  G.  F. 
Schmidt.  Gray  Coll. 

388.  A  Warrior  (Officer).  (Case  33.)— Dated 
1635,  —  Cambridge,  Fitz-William  College,  —  Mezzot.  by 
Wm.  Pether.  Gray  Coll. 

389.  Repose  During  the  Flight  to  Egypt.  (Case 
22.) — Assigned  to  about  1635  to  ^^3^  by  V. — Berlin, 
Gallery.  —  Etched  by  Leopold  Flameng.       S.  R,  Koehler. 

390.  Winter  Landscape.  (Case  22.) — Assigned 
to  1636  by  V. — Cassel,  Gallery.  —  Etched  by  Wm.  lin- 
ger. S.  R.  Koehler. 

Signature  and  date  forged,  according  to  V.,  who,  however,  accepts 
the  picture,  and  assigns  it  as  stated. 

391.  Rembrandt  and  Saskia.  (Case  22.) — Dated 
1638. —  Dresden,  Gallery.  —  Etched  by  H.  Burkner. 

S.  R.  Koehler. 

392.  The  Marriage  Feast  of  Samson.  (The 
Feast  of  Ahasuerus.)  (Case  34.) — Dated  1638.  —  Dres- 
den, Gallery.  —  Lithograph  by  Hanfstangl.  Gray  Coll. 

393.  Portrait  of  a  Gentleman.  (Burgomaster  Six.) 
—  (Case  22.)  —  Dated  1639.  —  Cassel,  Gallery.  —  Etched 
by  Wm.  Unger.  S.  R.  Koehler. 

It  is  self-evident  that  the  second  title  is  erroneous.  Compare  No. 
243- 


ETCHINGS,   ETC.,   AFTER  REMBRANDT.  69 

394.  Portrait  of  the  Artist  Doomer  (?).  (The 
Gilder.)  (Case  22.)  —  Dated  1640,  —  Wm.  Schaus,  New 
York.  —  Etched  by  Leopold  Flameng.  S.  R.  Koehler. 

V.  points  out  that  the  traditional  title,  "  Le  Doreur,"  is  probably  a 
corruption,  or  misreading,  of  the  name  of  the  person  represented. 

395.  Portrait  of  a  Lady.   (Case  22.) — About  i64o(?). 

—  Budapest,  Gallery.  —  Etched  by  L.  Michalek. 

S.  R.  Kcehler. 

Not  catalogued  by  V.  Sec  Tschudy  and  Pulsky,  "  Landes- 
Gemalde-Gallerie  in  Budapest,"  \'icnna,  18S3  and  1886,  Part  II, 
p.  9. 

396.  Manoah's  Sacrifice.   (Case  34  ) — Dated  1641. 

—  Dresden,  Gallery.  —  fCngraved  by  Jacob  Houbraken. 

Sewa/l  Coll. 

397.  The  Jewish  Bride.  (Saskia.)  (Case  23.)  — 
Dated  1641.  —  Vienna,  Coll.  of  Count  Lanckoroncki. — 
Etched  by  G.  F.  Schmidt.  Gray  Coll, 

Schmidt's  etching  is  reversed.  This  picture  has  been  doubted.  See 
Dr.  W.  Bode,  in  "  Mittheilungen  der  Gesellschaft  fiir  vervielfiiltigende 
Kunst,"  Vienna,  Vol.  Ill,  No.  3,  May  15,  1875,  pp.  38  and  39.  Also 
'  American  Art  Review,"  Vol.  II,  Div.  2,  p.  114. 

397 A.  The  Same.  (Case  23.)  Etched  by  Wm. 
linger.  S.  R.  Koehler. 

398.  Banning  Cock's  Company  Sallying  Forth 
to  Shoot.  (The  Nightwatch.)  (Case  33.)  —  Dated 
1642. — Amsterdam,  Museum.  —  Etched  by  I-eopold  Flam- 
eng. Seivall  Coll. 

399.  An  Old  Man  Seated.  (Case  37.) — Dated 
1642.  —  Budapest,  Gallery.  —  Etched  by  Wm.  Unger. 

S.  R.  Koehler. 

Not  catalogued  by  V.  See  Tschudy  and  Pulsky,  "  Landcs- 
Gemalde-Gallerie  in  Budapest,"  Vienna,  1883  and  1886,  Part  II,  p.  8. 


70  SECOA'D  PRINT  ROOM. 

400.  Le    Connetable    de    Bourbon?    (Case    23.) 

—  Dated  1644.  —  Paris,  M.  Secre'tan  (according  to 
Dutuit).  —  Dry-point  by  Ch.  Kcepping.  (Part  only  of 
the  picture  ?)  S.  J?.  Koehler. 

401.  Eleazar  Swalm.  (Case  35.) — Assigned  to 
1645  by  V. — Where?  —  Engraved  by  Jonas  Suyderhoef. 

Sewall  Coll. 

-  402.  Portrait  of  an  Elderly  Man.  (A  Jewish 
Rabbi.)  (Case  23.)  —  Dated  1645. — Berlin,  Gallery 
(from  the  Suennondt  Coll.),  —  Etched  by  Leopold  Flam- 
eng.  S.  R.  Koehler. 

403.  The  Descent  from  the  Cross.  (The  Cruci- 
fixion.) (Case  35.)  —  Assigned  to  about  1645  to  1650  by 
V.  —  London,  National  Gallery.  —  Engraved  by  J.  Burnet. 

Sewall  Coll. 

404.  Holy  Family.  (The  family  of  the  Woodchop- 
per,  or  of  the  Carpenter.)  (Case  23.) — Dated  1646. — 
Cassel,  Gallery.  —  Etched  by  Wm.  Unger.  S.  R.  Koehler. 

405.  An  Aged  Rabbi.  (Case  38.)  —  Dated  1646. — 
Where  >  —  Mezzotint  by  Capt.  Wm.  Baillie.        Gray  Coll. 

406.  Nicolas  Berchem.  (Case  24.)  —  Dated 
1647.  —  Grosvenor  House.  —  Engraved  by  Schiavonetti. 

Sewall  Coll. 

407.  Landscape  with  Ruins.  (Case  25.)  —  As- 
signed to  about  1643  to  1650  by  V.  — Cassel,  Gallery.  — 
Etched  by  Wm.  Un^er.  S.  R.  Koehler. 

407A.  The  Student.  (Daniel  Studying  Chaldaic?) 
(Case  24.) — About  1647  to  1650?  —  Berlin,  Mr.  Otto 
Pein.  —  Photogravure.  S.  R.  Koehler. 

This  picture  is  not  mentioned  by  V.,  as  it  has  come  to  light  only 
lately.  Note  some  of  R.'s  studio  property  in  it,  the  sword  which  occurs 
in  the  "  Resurrection  of  Lazarus"  (No.  69),  and  a  chair  like  that  in 
"The  Death  of  the  Virgin"  (No.  164).  See  Adolph  Rosenberg  in 
"Zeitschrift  fur  bildende  Kunst,"  Vol.  XXII,  pp.  163  and  164. 


ETCHINGS,  ETC.,  AFTER    REMBRANDT.  /I 

408.  A  Jewish  Rabbi.  (Framed,  on  case.)  — 
Dated  1651. — London,  National  Gallery. —  Etched  by 
Chas.  Waltner.  Edward  Robinson. 

V.  is  quite  explicit  in  giving  the  date,  but  no  date  is  mentioned  in 
the  official  catalogue  of  the  National  Gallery. 

409.  Noli  me  tangere.     (Case  25.) — Dated  165 1. 

—  Brunswick,  Gallery.  —  Etched  by  Wm.  Unger. 

S.  R.  Koehler. 

410.  Portrait  of  a  Lady.  (Case  38.)  —  Assigned 
to  between  1650  and  1654  by  V.  —  Paris,  Louvre.  — 
Etched  by  Ch.  Koepping.  Sewall  Coll. 

Dr.  W.  Bode  is  inclined  to  assign  this  picture  to  1658.  See  Dutuit 
Supplement,  p.  35. 

411.  An  Old  Man  with  a  Cane.  (Case  24.)  — 
Assigned  to  1654  by  V.  —  Dresden,  Gallery.  —  Etched  bv 
N.  Massaloff.  S.  R.  Koehler. 

412.  The  Standard  Bearer.  (Case  25.) — Assigned 
to  1655  by  V.  —  Cassel,  Gallery.  Engraved  by  E.  Heine- 
mann.  6".  R.  Koehler. 

413.  The  Standard  Bearer.     (Case  36.) — Date? 

—  Where  ?  —  Mezzot.  by  Wm.  Pether.  Gray  Coll. 

This  picture  is  placed  here,  as  V.  mentions  two  "  Standard  Bearers," 
the  second  in  the  Collection  J-  de  Rothschild,  Paris.  The  description, 
however,  does  not  fit,  nor  does  Pether's  mezzotint  show  R.'s  character. 

414.  Jacob  Blessing  the  Sons  of  Joseph.  (Case 
25.)  —  Dated  1656.  —  Cassel,  Gallery.  —  Engraved  by  E. 
Heinemann.  S.  R.  Koehler, 


415.  Mountainous  Landscape  with  a  Torrent. 
(Case  25.) — Assigned  to  1656  by  V.  —  Brunswick, 
Gallery.  —  Etched  by  Wm.  Unger.  S,  R.  Koehler. 


72  SECOND  PRINT  ROOM. 

416.  Rembrandt.  (Case  39.)  —  Assigned  to  1658 
by  V. — Vienna,  Belvedere.  —  Etched  by  Wm.  Unger. 

S.  R.  Koehler. 

417.  The  Auctioneer.  (Thomas  Jacobsz.  Haring  ?) 
(Case  25.)  —  Dated  1658. —  London,  Mr.  John   Wilson. 

—  Etched  by  Wm.  Unger.  S.  R.  Koehler. 

418.  Rembrandt.  (Case  36.)  —  Dated  1659.  — 
Coll.  of  Lord  Carrington  (in  1842).  —  Mezzot.  by  Richard 
Earlom.  Gray  Coll. 

419.  The  Syndics  of  the  Cloth  HalL     (Case  25.) 

—  Dated  1661.  —  Amsterdam,  Museum.  —  Etched  by  G.  F, 
Schmidt.  Sewall  Coll. 

Schmidt's  etching  is  reversed. 

419A.  The  Same.  (Case  25.)  —  Etched  by  Wm. 
Unger.  S.  R.  Koehler. 

420.  A  Family  Group.  (Rembrandt's  Family.) 
(Case  27.) — Assigned  to  about  1662  to  1663  by  V. — 
Brunswick,  Gallery.  —  Etched  by  Wm.  Unger. 

S.  R.  Koehler. 

Again  it  goes  without  saying  that  the  second  title  is  quite  unwarranted. 
W.  Burger,  "  Zeitschrift  fiir  bildende  Kunst,"  Vol.  IV,  p.  102,  assigns  the 
picture  to  the  period  after  1665. 

.     421.     Lucretia.     (Case  39.)  —  Dated  1664.  —  Was  in 
the  San  Donato  Collection.  —  Etched  by  Ch.  Koepping. 

Sewall  Coll. 

422,  Rembrandt.  (Case  27.)  —  Assigned  to  1668 
by  V.  —  Florence,  Pitti  Palace.  —  Etched  by  J.  G.  Chap- 
man. S.  R.  Koehler. 

423.  Jewish  Rabbi.     (Case  37.)  —  Date  ?  —  Where  ? 

—  Mezzot.  by  Wm.  Pether.  Gray  Coll. 

42/[.  Sigismond  Ragotsky  ?  (Case  39.)  —  Date  ?  — 
Where  ?  —  Mezzot.  by  Bernard  Picart.  Sewall  Coll. 


ETCHINGS  BY  LASTMAN,   ETC.  73 

[425.  Christ  Blessing  the  Children.  —  National 
Gallery,  London.  From  the  Suermondt  Collection.  — 
Etched  by  Leopold  Flameng.  S.  R.  Koehler. 

In  the  1st  edition  of  his  "  Rembrandt,"  V.  assigns  this  picture  to  about 
1650.  In  the  2d  edition  (p.  285)  he  rejects  it,  and  names  as  its  prob- 
able author  either  Victor  or  Eeckhout.] 


ETCHINGS 


EXECUTED    BY    ARTISTS    BELONGING    TO    REMBRANDT'S 
CIRCLE. 


PIETER   LASTMAN.     (Case  12.) 

Born  (at  Amsterdam  ?)  about  1580  to  1584  ;  died  (in  the 
same  city?)  about  1649.  Lastman  was  R.'s  last  teacher. 
—  See  Vosmaer,  "Rembrandt,"  2d  ed.,  Chap.  VIII,  and 
pp.  472  to  481. 

426.     Judah  and  Thamar. — Bartsch,  Rembr.  Cat., 

II.  P-  T-ZZ.  No.  74. 

Two  states;  2d  state  shown.  .    Gray  Coll. 

Possibly  only  after  Lastman.     See  Vosmaer,  p.  79. 


SALOMON   SAVRY.     (Case  12.) 

Engraver  and  etcher,  who  is  said  to  have  worked  at 
Amsterdam  from  1620  to  1650.  As  early  as  1632,  in  the 
year,  that  is  to  say,  which  is  marked  upon  the  original,  he 
copied  R.'s  "  Ratkiller,"  No.  72  of  this  catalogue  (Vosmaer, 
p.  99).  Mr.  Haden,  "Monograph."  p.  18,  would  have  it 
that  he  etched  also  the  two  plates,  Nos.  95  and  96  of  this 
catalogue,  generally  believed  to  be  byR.  — See  Andrescn, 
''Handbuch,"  I,  p.  437. 


74  SECOND  PRINT   ROOM. 

427.     Cornells  Claesz.  Anslo.  —  Copy  of  R.'s  etch- 
ing, No.  206  of  this  catalogue.     Attributed  to  Savry  by  B. 

Sewall  Coll. 


428.  The  Good  Samaritan.  —  Copy  of  R.'s  etching, 
No  80  of  this  catalogue.     Attributed  to  Savry  by  W. 

Sewall  Coll, 

Both  these  plates  are  marked  S.  Savry  excud.  (cut  off  in  the  "  Samar- 
itan"), but  this  in  reality  signifies  only  that  they  were  published  by 
him. 


SALOMON    KONINCK.     (Case  12.) 

Born  at  Amsterdam  1609,  died  about  1668.  A  pupil  of 
N.  Moeijart,  who  adopted  R.'s  style.  (Not  to  be  con- 
founded with  Philip  de  Koninck,  one  of  R.'s  own  pupils.) 
—  See  Vosmaer,  pp.  63  and  97  ;  Bartsch's  Rembr.  Cata- 
logue, II ;  Claussin,  Supplement. 

429.  Bust  of  an  Old  Man  in  Profile.  —  Bartsch, 
Rembr.  Cat.,  II,  p.  130,  68  ;  Claussin,  Supplement,  p.  132, 

75- 

One  state  only.  Sewall  Coll, 

According  £0  B.  and  to  CI.,  this  plate  is  signed  and  dated  S.  Koninck 
Ao.  1628,  which  does  not  quite  correspond  with  what  is  left  of  the 
inscription  on  the  impression  shown,  viz. :  An  1628.  The  name  has 
evidently  been  cut  off.  Judging  from  the  date,  this  plate  must  have 
been  executed  before  K.  was  influenced  by  R. 


M.   RODDERMONDT.     (Case  12.) 

(Rodermont,  Rodermondt,  Rottermondt ;  called  also 
Aegidius  Paul,  or  Paul  Aegidius,  R.)  Dutch  painter  and 
etcher,  who  is  said  to  have  worked  about  1640.  Mr. 
Haden  ("Monograph,"  pp.  17,  18,  and  26)  would  make 
him  responsible  for  some  of  R.'s  work. 


ETCHINGS   BY    VAN    VL/ET.  75 

430,  Esau   selling  his   Birthright  to  Jacob.  — 

Bartsch,   Rembr.  Cat.,  II,  p.  135,    77  ;  Claussin,  SuppL, 

P-  135.84. 

Two  states  ;  2d  state  shown.  Seivall  Coll. 

Mr.  Haden  refers  to  this  plate,  "  Monograph,"  p.  18.    The  false  sig- 
nature, "  Rembrandt,"  does  n«t  occur  in  the  first  state.  , 

431.  The    Suppliant.  —  Bartsch,   Rembr.    Cat,   II, 
p.  137,  78  ;  Claussin,  Suppl.,  p.  136,  85. 

One  state  only.  Sewall  Coll. 


JAN   JORIS  VAN   VLIET.     (Case  14.) 

Born  at  Delft,  in  161  o,  painter  and  etcher.  "Van  Vliet 
is  especially  known,"  says  Vosmasr,  p.  99,  "by  his  etch- 
ings after  Rembrandt.  He  was  the  first  who  made  it  his 
aim  to  reproduce  the  works  of  the  young  master,"  —  See 
Bartsch,  Rembr.  Cat.,  II ;  Claussin,  Supplement ;  also  Mr. 
Haden,  "  Monograph,"  pp.  14,  15,  24,  25. 

432.  Loth  and  his  Daughters.  After  Rembrandt. 
—  Bi;  CI  I,— Dated  1631. 

Two  states  \  2d  state  shown.  Sewall  Coll. 


433.     Susannah  and   the   Elders.     After  Jan  Lie- 
vens.  —  B  3  ;  CI  3. 

One  state  only,  Sewall  Coll. 

The  impression  shown  has  been  cut,  mounted  and  repaired. 


434.  Old  Woman  Reading.     After  Rembrandt.  — 
B  18;  CI  18. 

One  state  only.  Sewall  Coll. 

435.  The  Seller  of  Ratsbane.  —  B  55  ;  CI  55. 
One  state  only.  Sewall  Coll, 


7^  SECOND  PRINT   ROOM. 

436.     The  Beggars.  —  B  73-82  ;  CI  73-82. 

One  state  only,  Sewall  Coll. 

The  set  here  shown  lacks  two  of  the  full  series  of  ten. 
See  also  Nos.  364  and  370. 


FERDINAND   BOL.    (Cases  16  and  18.) 

Born  at  Dordrecht  towards  i6il,but  lived  in  Amsterdam  since 
childhood;  died  at  Amsterdam,  1661.  Rembrandt  is  named  as  his  only 
master.  See  Vosmser,  pp.  138  and  139;  Bartsch,  Rembr.  Cat.  II; 
Claussin,  Supplement;  also  Mr.  Haden,  "  Monograph,"  p.  15  and  else- 
where. 

437.  The  Sacrifice  of  Abraham.  —  B  i ;  CI  i. 

Two  states  ;  2d  state  shown.  Sewall  Coll. 

438.  Gideon's  Sacrifice. — B2;Cl2. 

Three  states  ;  3d  (?)  state  shown.  Sewall  Coll, 

439.  St.  Jerome.  —  B  3  ;  CI  3. 

One  state  only.  Sewall  Coll. 

There  seems  no  reason  to  think  that  this  is  not  the  etching  described 
by  B.  and  by  CI.  Nevertheless  it  measures  only  8  pouces  4  lignes  across, 
while  they  agree  in  making  it  9  pouces. 

440.  The  Family.  —  B  4  ;  CI  4.  —  Dated  1649. 
One  state  only.  Sewall  Coll. 

441.  An   Old  Man  with  a  curly  beard. — B  9  ;  CI 
9.  —  Dated  1642. 

One  state  only.  Sewall  Coll. 

Traces  only  of  the  signature  and  date  are  visible  on  the  impression 
shown. 

442.  Portrait  of  an  Officer.  —  B  11  j  CI  12. 

One  state  only.  Gray  Coll. 

443.  Portrait  of  a  Man.  —  B  12  ;  CI  13. 

One  state  only.  Sewall  Coll. 


ET.HINGS   BY  BOL.  77 

444.  Man  Wearing  a  Large  Cap.  —  B  13 ;  CI  14. 

Oen  state  only.  Sewall  Coll. 

445.  The  "Woman  with  the  Pear.  —  B  14  ;  CI  16. 

—  Dated  1651. 

One  state  only.  Gray  Coll. 

446.  Portrait  of  a  Lady,  in  an  oval.  —  B  15  ;  CI  17. 

—  Dated  1644. 

Two  states  j  2d  state  shown.  Sewall  Coll. 

The  impression  shown  is  not  the  original,  but  the  copy  made  by 
Claussin.  The  original  is  a  trifle  larger,  and  the  copper  in  the  2d  state 
has  been  cut  to  an  oval  shape. 

447.  Bust  of  an  Old  Man,  in  an  oval.  —  CI  18. 
One  state  only.  SeTnall  Coll. 

448.  The  Hour  of  Death.  —  B  (under  Rembrandt) 
108  ;  CI  19. 

Exhibited  among  the  pieces  eliminated  by  V.  from  the  list  of  R.'s 
works.     See  No.  360  of  this  catalogue,  in  case  17,  19. 

449.  Young  Man  Standing.  —  Signed,  and  dated 
1640. 

States  (?).  Gray  Coll. 

Not  mentioned  in  any  of  the  catalogues,  and  not  at  all  like  Bol's 
work.  The  same  design  has  been  etched  by  some  one  else,  and  signed 
Rembrandt  f.  1636.     An  impression  of  this  version  is  also  shown. 


JAN   LIEVENS.     (Cases  26  and  28.) 

Born  at  Leyden,  1607.  It  is  generally  stated  that  he  died  at  Ant- 
werp in  1663,  but  in  1672  he  was  still  living,  and  again  in  his  native 
city.  Lievens,  like  R.,  was  a  pupil  of  Lastman,  and  only  a  follower  of 
his  greater  townsman.  About  1634  he  was  at  Antwerp,  and  later  his 
style  was  influenced  by  Rubens  and  the  Italians.  See  Vosmser,  p.  97, 
and  elsewhere;  Bartsch,  Rembr.  Cat.,  II;  Claussin,  Supplement.  For 
Mr.  Haden's  theories  concerning  Lievens,  see  "  Monograph,"  p.  16 
and  elsewhere. 


78  SECOND  PRINT  ROOM. 

450.  The  Virgin  and  Child.  —  Bl  i ;  CI  i. 

Two  states  ;  ist  state  shown.  Sewall  Coll. 

This  is  evidently  in  L.'s  later  Italian,  or  "  noble  "  manner. 

451.  The  Resurrection  of  Lazarus.  —  B3;  CI  3. 

Two  states ;  2d  state  shown.  Sewall  Coll. 

452.  St.  Jerome.  — B  5;  CI  5. 

Three  states;  2d  state  shown.  Sewall  Coll. 

453.  An  Hermit.     (St.  Francis.)  — B  7  ;  CI  7. 
Two  states  ;  2d  state  shown.  Seivall  Coll. 

454.  St,  Anthony.  —  B  8 ;  CI  8. 

Two  states  ;  2d  state  shown.  Seivall  Coll. 

This  is  an  extreme  case  of  the  attempted  free  use  of  the  graver,  on  a 
plate  apparently  underbitten,  often  met  within  L.'s  work.  R.  evidently 
used  the  graver  upon  his  plates  in  a  most  skilful  manner,  and  with  a 
dexterity  and  freedom  that  made  it  harmonize  admirably  with  the  work 
of  the  acid  and  the  dry-point.  His  follower  attempts  the  same  thing, 
but,  lacking  the  skill,  the  freedom  degenerates  into  brutality. 

455.  Oriental  Figure. — B  12;  CI  12. 

Two  states  ;  2d  state  shown.  Seivall  Coll. 

In  this  plate  the  retouches  were  etched  in,  but  with  as  little  success 
as  in  the  case  of  the  retouches  put  in  with  the  graver. 

456.  Bust  of  an  Oriental.  —  B  13  ;  CI  13. 

Two  states  ;  2d  state  shown.  Sewall  Coll. 

The  curious  crayon-like  texture  noticeable  in  this  plate  may  be  due 
to  shallow  biting  and  lines  run  together,  or  in  parts,  as  Mr.  Jas.  D. 
Smillie  suggests,  to  the  grinding  down  of  heavily  overbitten  lines. 

-    457.     Bust  of  an  Oriental.  —  B  18  ;  CI  18. 

Two  states;  2d  (.'')  state  shown.  Sewall  Coll. 

Both  B.  and  CI.  say  that  I^.'s  initials  are  to  be  seen  on  the  left  side, 
about  midway,  but  they  are  not  to  be  found  in  this  impression.  See 
R.'s  etching.  No.  1 16  of  this  catalogue,  of  which  this  plate  is  supposed 
to  be  a  reversed  copy.  See  also  Mr.  Haden's  remarks,  "Monograph," 
pp.  28  and  29. 


ETCHINGS   BY  LI  EVENS.  79 

458.  Bust  of  an  Old  Man.  —  B  22  ;  CI  22. 

Two  states  (?);  ist  state  (?)  shown.  Sewall  Coll. 

B.  and  CI.  describe  only  one  state,  with  F.  van  Wyngaerde's  address. 
As  there  is  no  address  on  this  impression,  it  would  seem  to  be  a  ist 
state.  Or  is  it  a  copy,  since  it  is  numbered  4  in  upper  right-hand 
corner,  as  if  it  belonged  to  a  series? 

459.  Bust  of  a  Young  Man.  —  B  26  ;  CI  26. 

One  state  only.  Sewall  Coll. 

The  breadth  of  the  impression  shown  does  not  correspond  with  the 
descriptions,  but  it  has  evidently  been  cut.  Compare  No.  125  of  the 
present  catalogue,  of  which  this  is  supposed  to  be  a  free  copy. 

460.  Bust  of  a  Young  Woman.  —  B27;  CI  27. 
One  state  only.  Sewall  Coll, 

This  impression  has  likewise  been  cut. 

461.  Bust  of  a  Young  Man.  —  B  39  ;  CI  39. 

Two  states  ;  2d  state  shown.  Sewall  Coll, 

462.  Head  of  an  Old  Man,  —  B  46  ;  CI  46. 

One  state  only.  Sewall  Coll. 

Of  L.'s  later  time,  after  he  had  gone  to  Antwerp?  The  stippling  in 
this  head  reminds  one  of  the  similar  treatment  adopted  by  Van  Dyck. 

463.  Bust  of  an  Old  Man,  with  large  round  eyes.  — 
B50;  CI  50. 

Two  states ;  ist  state  shown.  Sewall  Coll. 

464.  Portrait  of  Ephraim  Bonus.  —  B  56  ;  CI  55. 
Three  states;  ist  state  shown.  Sewall  Coll. 

Finished  with  free  graver  work,  like  the  others  of  L.'s  large  portraits, 
but  much  more  successfully  and  carefully  than  the  St.  Anthony.  See 
R.'s  portrait  of  Bonus,  No.  244  of  this  catalogue. 

465.  Portrait  of  Justus  Vondel. —  B  57  ;  CI  56. 
Five  states;  4th  state  shown.  Sewall  Coll, 


80  SECOND  PRINT  ROOM. 

466.  Portrait  of  Daniel  Heinsius.  —  B58;  CI  57. 
One  state  only.  Sewall  Coll. 

467.  Portrait  of  Jacob  Gouters.  —  B  59  ;  CI  58. 
One  state  only.  Gray  Coll, 

468.  Bust  of  an  Old  Man,  full  face.  —  CI  70. 

One  state  only.  Sewall  Coll. 

The  measurements  do  not  agree.  CI.  says  9  pouces  by  8.  The  true 
measurement  (unless  this  should  be  a  copy,  which  is  not  likely)  is  10 
pouces  2  lignes  by  8,  from  platemark  to  platemark.  See  the  remarks 
about  graver  work  under  No.  454. 


PAINTINGS. 


469.     Danae  and  Jupiter?  —  Signed  andjdated  1652. 

Francis  Brooks. 

The  title  hardly  suits  the  picture.  The  male  figure  is  Mercury.  The 
woman  to  whom  he  offers  the  bag  cannot  be  Danae,  as  the  scene 
takes  place  in  the  open  air,  while  the  mother  of  Perseus  was  kept  by 
her  father  in  a  subterranean  room,  through  the  roof  of  which  Jupiter 
entered  in  the  form  of  a  shower  of  gold.  R.,  however,  was  evidently  not 
a  strict  interpreter  of  ancient  myths.  In  the  etching.  No.  t,t,  of  this  cata- 
logue, he  introduces  the  shower  of  gold  and  the  satyr,  thus  combining 
the  two  myths  of  Danae  and  of  Antiope.  The  picture  is  not  mentioned 
by  V.     See  also  the  remarks  in  the  introduction. 


470.  Rembrandt  ?  —  Date  ?  —  Original  where  ? 

Boston  Athenmim. 
Copy  by  an  imknown  artist. 

471.  Rembrandt. — Dated  1634.  —  Original  in  the 
Pitti  Palace,  Florence.  Boston  Athenceum. 

Copy  by  an  unknown  artist.     See  G.  F.  Schmidt's  etching,  reversed, 
No.  384  of  this  catalogue. 


FINDING   LIST 

FOR    THE    CATALOGUES    OF    BLANC,    BARTSCH,   WILSON, 
MIDDLETON,  AND   DUTUIT. 


To  locate  in  this  exhibition  by  means  of  the  following 
list  any  of  Rembrandt's  etchings,  according  to  the  num- 
bers given  to  them  by  Bl,  B,  W,  M,  or  Du,  find  the 
corresponding  number  in  the  first  column.  The  number 
on  the  same  line  with  it,  in  the  column  set  apart  for  the 
catalogue  used,  will  be  the  number  under  which  the  etch- 
ing sought  is  here  catalogued.  For  instance  :  the  etching 
wanted  being  B  225,  find  this  number  in  the  first  column, 
then  read  the  number  on  the  same  line  with  it  in  the  col- 
umn headed  B,  which  in  this  case  is  211,  and  under  this 
number  the  etching  looked  for  will  be  found  in  the  present 
catalogue.  The  numbers  omitted  indicate  prints  which 
are  omitted  also  in  this  catalogue,  because  they  are  not 
procurable,  and  are  described  by  neither  V.  nor  Bl. 


Bl 

B 

W 

M 

Du 

Bl 

B 

W 

M 

Du 

1... 

..156 

25 

25 

128 

25 

24.. 

..  6 

23 

23 

26 

23 

2... 

..305 

101 

101 

126 

101 

25... 

..  79 

61 

61 

27 

61 

3.. 

..152 

88 

88 

5 

88 

26.. 

..275 

161 

161 

31 

161 

4... 

..157 

29 

29 

75 

29 

27.. 

..182 

31 

31 

23 

31 

5.. 

..227 

ao 

30 

4 

30 

28.. 

.286 

156 

68 

14 

68 

6.. 

..298 

87 

87 

3 

87 

29... 

..287 

305 

27 

22 

27 

7.. 

..196 

59 

59 

340 

59 

30  . 

..183 

152 

340 

20 

340 

8.. 

..296 

102 

102 

258 

102 

31. 

..228 

— 

67 

21 

67 

9.. 

..158 

65 

65 

257 

65 

32.. 

..198 

— 

232 

123 

232 

10.. 

..347 

24 

24 

9 

24 

33.. 

..173 

157 

26 

185 

26 

11.  . 

,.  90 

295 

295 

255 

295 

34.. 

..288 

227 

89 

12 

89 

12... 

..171 

66 

66 

320 

66 

35.. 

..289 

298 

156 

189 

156 

13.. 

..278 

28 

28 

254 

28 

36.. 

..279 

296 

305 

16 

305 

14.. 

..274 

63 

63 

129 

63 

37.. 

..  8 

168 

152 

10 

152 

15.. 

..273 

62 

62 

341 

62 

38.. 

..290 

347 

227 

15 

157 

16.. 

...197 

60 

60 

66 

60 

39.. 

..280 

90 

298 

17 

227 

17  . 

...91 

86 

86 

87 

86 

40.. 

..170 

171 

296 

19 

298 

18.. 

..285 

104 

104 

— 

104 

41.. 

...80 

278 

158 

18 

158 

19.. 

...181 

149 

149 

30 

149 

42.. 

..108 

273 

347 

29 

347 

20.. 

...284 

160 

160 

67 

160 

43.. 

..143 

197 

90 

89 

90 

21.. 

..  7 

167 

167 

65 

167 

44.. 

...107 

91 

171 

63 

278 

22.. 

...163 

253 

253 

28 

253 

45.. 

...310 

285 

278 

60 

273 

23.. 

..309 

105 

105 

24 

105 

46.. 

...92 

181 

273 

343 

197 

82 


FINDING  LIST. 


Bl 

B 

W 

M 

Du 

Bl 

B 

W 

M 

Du 

47... 

..214 

284 

274 

68 

296 

100..  . 

..328 

94 

— 

88 

109 

48... 

..  69 

7 

197 

62 

171 

101.... 

..168 

71 

229 

85 

199 

49... 

..269 

163 

91 

61 

91 

102.... 

..342 

110 

109 

121 

164 

50.. 

..297 

309 

285 

102 

285 

103... 

..  44 

216 

199 

176 

94 

51... 

..299 

6 

181 

25 

181 

104.... 

..209 

259 

167 

348 

71 

52.. 

..144 

79 

284 

59 

284 

105.... 

..  74 

217 

94 

104 

110 

53.. 

..300 

275 

7 

56 

7 

106.. 

..  75 

2 

71 

101 

216 

54.. 

..174 

182 

163 

57 

163 

107... 

..121 

308 

110 

100 

269 

55.. 

.118 

286 

309 

58 

zm 

108... 

..  37 

360 

216 

97 

217 

56... 

..81-2 

287 

6 

45 

6 

109.. 

..138 

165 

259 

«) 

308 

57.. 

.  215 

183 

79 

46 

79 

110... 

..348 

24i) 

217 

84 

165 

58.. 

.  .291 

228 

275 

52 

275 

111... 

..230 

83 

2 

105 

249 

59.. 

.  172 

— 

182 

344 

182 

112.. 

..349 

248 

308 

95 

83 

60.. 

.  70 

290 

286 

322 

286 

113. 

..341 

201 

165 

96 

248 

61.. 

..292 

198 

287 

345 

287 

114... 

..  34 

202 

249 

114 

201 

62.. 

..  93 

173 

183 

48 

183 

115... 

.123 

203 

83 

151 

202 

63.. 

..293 

288 

228 

50 

228 

116... 

..169 

204 

248 

133 

203 

64  . 

.260 

289 

290 

324 

198 

117... 

..  35 

205 

201 

111 

204 

65. 

..120 

279 

198 

54 

173 

118... 

..122 

196 

202 

55 

205 

66.. 

..316 

8 

173 

342 

288 

119... 

..  43 

119 

203 

326 

196 

67. 

.  229 

280 

288 

47 

289 

120... 

..281 

218 

204 

127 

119 

68 

.109 

108 

289 

321 

279 

121... 

..176 

72 

205 

188 

218 

69.. 

..199 

107 

279 

49 

8 

122... 

..184 

73 

19() 

115 

72 

70.. 

..164 

310 

8 

40 

290 

123... 

..128 

301 

119 

117 

73 

71.. 

...  94 

92 

280 

34 

280 

124... 

..  53 

112 

218 

116 

301 

72.. 

..  71 

214 

108 

38 

310 

125... 

..185 

294 

72 

125 

112 

73., 

..110 

69 

107 

43 

92 

126... 

..186 

247 

73 

194 

294 

74.. 

..216 

269 

310 

41 

170 

127... 

..187 

358 

301 

148 

247 

75.. 

...259 

297 

92 

42 

80 

128.. 

..  10 

200 

112 

149 

200 

76.. 

. . .217 

299 

214 

53 

143 

129... 

..  9 

111 

294 

150 

111 

77.. 

...  1 

144 

69 

51 

269 

130... 

..  41 

328 

247 

165 

328 

78  . 

...308 

300 

269 

36 

214 

131... 

..  40 

281 

200 

154 

281 

79.. 

...165 

174 

297 

37 

69 

132... 

...42 

359 

111 

153 

168 

80.. 

. .  .249 

118 

299 

11 

107 

133... 

...11 

168 

328 

161 

342 

81.. 

...83 

81-2 

300 

323 

108 

134.. . 

...241 

342 

281 

1(50 

44 

82.. 

...248 

215 

144 

64 

297 

1351. 

...129 

44 

168 

159 

209 

83.. 

...218 

291 

81 

135 

299 

136... 

...12 

209 

44 

103 

36 

84.. 

.  .251 

70 

81 

136 

144 

137... 

..188 

— 

209 

167 

75 

85.. 

...201 

172 

174 

137 

300 

138... 

...  38 

36 

36 

166 

121 

86.. 

...202 

292 

118 

138 

174 

139... 

...54 

75 

75 

190 

122 

87.. 

...203 

293 

215 

139 

118 

140... 

...  95 

121 

121 

168 

37 

88.. 

...204 

93 

291 

140 

81-2 

141... 

...  96 

122 

122 

186 

138 

89  . 

...205 

260 

70 

44 

215 

142... 

...189 

37 

37 

187 

348 

90.. 

...119 

80 

172 

131 

291 

143... 

...361 

138 

138 

169 

230 

91. 

...  36 

143 

292 

74 

172 

144... 

...350 

;}48 

348 

184 

349 

92  . 

...111 

170 

293 

346 

70 

145... 

...264 

— 

230 

178 

1 

93. 

...112 

— 

93 

122 

292 

146... 

...260 



349 

20(i 

34 

94.. 

...301 

316 

260 

— 

293 

147... 

...255 

230 

1 

208 

123 

95.. 

...72 

120 

80 

325 

93 

148... 

...266 

349 

34 

207 

74 

96. 

...73 

229 

143 

132 

260 

149... 

. . .257 

1 

123 

329 

274 

97.. 

...294 

109 

170 

134 

316 

150... 

...268 

34 

74 

175 

43 

98.. 

...247 

199 

316 

130 

120 

151... 

...242 

123 

43 

177 

169 

99.. 

...200 

164 

120 

86 

229 

152... 

...220 

74 

169 

222 

176 

»VV  136*  =  167. 


FINDING  LIST. 


83 


BI 

153 219 

154 221 

155 13 

156 39 

157 252 

158 238 

159 240 

160 239 

161 311 

162 113 

163 312 

164. 313 

165 32 

166 318 

167 315 

168 33 

169 314 

170 206 

171 245 

172 244 

173 115 

174 77 

175 319 

176 304 

177 207 

178 303 

179 302 

180 276 

181 246 

182 306 

183 148 

184 243 

185 357 

186 84 

187 231 

188 307 

189 166 

190 114 

191 85 

192 3 

193 4 

194 356 

195 56 

196 57 

197 346 

198 58 

199 97 

200 159 

201 100 

202 175 

203 149 

204 25 

205 31 

206 101 

207 88 

208 29 


B  W 

274  176 

43  224 

169  162 

176  261 

224  53 

162  187 

261  185 

53  186 

187  10 


M  Du 

281  224 

223  162 

231  261 

230  53 

241  187 

244  185 

243  186 


185 
186 

10 
9 

41 


253 

245 
77 
330 
276 
295 


40  241 

42  38 

11  188 

241  129 


38 

188 


129  250 

12  95 
54  96 

250  189 

95  351 

96  350 
189  255 
351  254 
350  257 

255  256 
254  242 
257  220 

256  219 
242  221 

220  13 
219  39 

221  252 

13  238 
39  240 

252  35 

238  239 
240  311 

35  113 

239  312 

311  313 
113  32 

312  318 

313  315 

32  33 
318  314 
315  106 

33  327 

314  233 
106  234 
327  210 
233  267 


10 
9 
41 
40 
42 
11 

331  241 

246  38 

303  188 
302  129 
307  12 
306  54 

304  250 
232  95 
319  96 

2  189 

1  351 

8  360 

6  350 

7  254 
274  257 
182  256 
173  258 

71  242 

79  220 

80  219 

81  221 

82  13 
69  39 

347  252 

94  238 

91  240 
90  35 

118  239 

93  311 

92  113 

108  312 

109  313 
107  32 

110  318 
144  315 
143  33 
172  314 

157  106 
152  327 

158  233 
156  234 
164  210 
163  367 


Bl  B  W  M  Du 

209 30  234  225  170  226 

210 87  210  146  199  146 

211 59  267  271  198  271 

212 102  225  193  196  193 

213 65  146  —  197  — 

214 24  271  263  217  263 

215 66  193  264  214  264 

216 161  —  235  215  235 

217 26  263  226  70  226 

218 27  264  180  228  180 

219 28  235  282  229  282 

220 61  226  268  227  268 

221 67  180  145  183  145 

222 62  282  311  174  211 

^23.....  60  268  212  216  212 

224 68  145  195  269  195 

225 63  211  236  260  236 

226 23  212  —  273  — 

227 89  195  191  275  191 

228....  232  236  237  171  237 

229 85  —  78  280  78 

230 340  191  313  181  213 

231 104  237  277  279  277 

232 105  78  265  278  265 

233 160  313  266  292  266 

234 167  277  192  269  192 

235 253  266  283  300  283 

236 295  266  —  287  — 

237 103  192  335  293  335 

238 64  283  354  286  354 

239 98  335  336  284  — 

240 177  —  —  286  336 

241 124  354  147  288  — 

242 99  —  —  291  147 

243 321  336  317  309  — 

244 133  —  355  290  317 

245 47  147  —  289  355 

246 76  —  272  298  — 

247 352  317  141  296  272 

248....  329  355  —  299  141 

249 150  -  179  120  — 

250 151  272  337  305  179 

251 155  141  -  297  337 

252 6  —  —  308  — 

253 262  179  —  310  — 

254.        353  337  —  316  206 

255 125  —  —  13  245 

2r>6 330  —  —  113  244 

257 208  222  —  39  77 

258 153  262  222  32  319 

259 326  190  262  33  251 

260 14  48  190  73  304 

261 126  208  48  72  303 

262 222  131  —  83  302 

263 322  51  208  119  276 

264.....  52  246  131  112  264 


84 


FINDING  LIST. 


Bl 

265 15 

266 16 

267 51 

268 190 

269 154 

270 131 

271 178 

272 17 

273 18 

274 19 

275 45 

276 46 

277 345 

278 324 

279 344 

280 132 

281 48 

282 20 

283 21 

284 50 

285 22 

286  ....194 

287  ...270 

288 117 

289 116 

290 136 

291 140 

292 137 

293 139 

294 127 

295 332 

296 323 

297 343 

298 49 

299 134 

300 325 

301 130 

302  ...  55 

303  ....320 

304 338 

305 339 

306 333 

307 334 

308 135 

309 106 

310 327 

311 233 

312 234 

313 210 

314 267 

315 225 

316 146 

817 271 

318 263 

819 264 

820 236 


B  W 

178  51 

84  246 

270  178 

153  84 

148  270 

251  153 

206  148 

276  251 

304  206 

303  276 

302  304 

306  303 
245  302 
244  306 

114  245 
231  244 
166  114 

77  231 

319  !«> 

307  77 
243  319 

115  307 
117  243 

116  115 
125  117 
194  116 

22  125 

17  194 

18  22 

19  17 
—  19 

325  325 
345  345 

45  45 

55  55 

140  140 

323  323 

139  139 

15  15 

326  326 
127  127 


M  Du 

165  306 

142  148 

162  243 

219  84 
209  231 
.S28  307 
200  166 

202  114 

203  222 

204  262 

205  190 
349  48 
224  208 

239  131 
238  51 

240  178 
221  270 

220  153 
242  115 
252  117 
218  116 
248  125 
250  194 


247 
179 
261 
251 


22 
17 
18 
19 


52 
322 


52 
18 


21  322 

207  21 

14  207 

324  14 

154  324 

344  154 

60  344 

27  50 

49  49 

341  341 

68  16 

26  343 


35  325 

201  345 

294  45 

301  55 

249  140 

313  — 
312  323 
311  139 

314  15 

315  326 
318  127 
327  52 

210  322 
213  21 

211  207 

212  14 
78  324 

225  154 

226  344 


234 

237 


50 
49 


233  341 

im  16 

235  343 

191  332 
268  46 

192  20 

145  130 

146  1.34 


Bl 

321 226 

322 180 

323 282 

324 268 

325 145 

326 212 

327 211 

328 195 

329.   ...236 

330 191 

331 237 

332 78 

333 213 

334  ....277 

335 265 

336 2;6 

337 192 

338 283 

339...  jg2 

340 354 

3*1 336 

342 147 

343 317 

344 355 

345.   ..   141 

346 179 

347 337 

348 331 

349 223 

350 224 

351 142 

352 162 

353 261 

354 == 

355 

356 

357 

358 

359 

360  ..   . 

361 

362 

363 

364 

365 

366 

367 

368..   . 

369 

370 

371 

372 

373..  „^ 

374 

375..... 


B  W 

16  332 

343  46 

332  20 

46  130 

20  134 

130  353 

134  330 

353  137 

330  136 

—  126 
89  132 

137  — 

136  333 

126  — 

67  334 

132  97 

340  159 

—  57 

97  346 

98  99 
159  100 

57  68 

346  66 

99  133 
85 

3 

4 

47 


M  Du 

264  353 

265  330 

266  — 
195  137 
263  136 
277  126 
180  132 
282  — 


267 


100 

58 

56 

133  177 

85  124 

3  321 
356  175 

4  76 
47  352 

177  329 

124  103 

321  331 

175  150 

76  135 

352  151 

329  155 

103  184 

.331  64 

150  143 
135  223 

151  128 
155  .320 
184  _5 

142 
223 
128 
320 
5 


97 
98 

169 
67 

346 
99 

100 
68 
66 

133 

86 

3 
4 

356 
47 
177 
124 
321 
175 
76 
352 
329 

io;{ 
;tti 

150 
135 
151 
165 
184 
64 
142 
223 
128 
320 
5 


University  of  California 

SOUTHERN  REGIONAL  LIBRARY  FACILITY 

305  De  Neve  Drive  -  Parking  Lot  17  •  Box  951388 

LOS  ANGELES,  CALIFORNIA  90095-1388 

Return  this  material  to  the  library  from  which  it  was  borrowed. 


UC  SOUTHERN  REGIONAL  LIBRARY  FACILITY 


A     001  054  507     7 


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